Apple Rumors (and a little news)

I try not to pass along rumors, but there's a scary one that's been floating around enough that I thought I'd mention it. I think it started around the time that Apple said that it was going to skip NAB. The word from the grapevine is that Apple is going to sell its Pro Apps, which includes Final Cut Pro.

The rumor has been pretty persistent, enough for Apple to officially deny it. In Robert Cringely's latest article he says that Apple spent the NAB conference looking for buyers for their Pro Apps. He's been saying for a while that Apple will buy Adobe in order to get Flash. If that's the case, then Cringely thinks that Apple can't keep both their Pro Apps and Adobe's competing products, like Premiere, After Effects, and their other audio-video apps because of anti-trust concerns. He's more convincing than any of the other sources that I've heard with this rumor or similar ones, so I'm a little more concerned about it. Although, Cringely goes on to to suggest that if Apple really did buy Adobe, then it would sell the Adobe apps that compete with Apple's.

I still think it's unlikely that Apple would sell Final Cut Pro, and for that viewpoint there's a short blog at Final Cut User.

For a bit of official news, there was a statement from an Apple employee on why Final Cut Server took so long to appear on the market--nearly a year after it was announced. According to this interview at TVBEurope, Apple went back to the drawing board to make Final Cut Server easy to administer. Apple's marketing director for professional video apps said that they were reworking Final Cut Server so that it could run "without an IT department to support it." Final Cut Server seems to have been based on asset management software that Apple acquired late in 2006 from a company called Proximity. If they were simplifying the software, I can appreciate that. I'm not interested in becoming an IT professional, but I'm the most likely person to set up and run Final Cut Server at Link TV.

In the same article, Apple's marketing guy says that they have sold a million licenses of FCP. He also said that FCP had 49% market share in 2007 versus Avid's 22% share.

Apple Updates the Mac Pro

Apple has refreshed the Mac Pro--the first full turnover of the Mac Pro since it was first announced in August of 2006. The line has switched from being dominated by Quad-core Xeon's to being dominated by Octo-core Xeon's. There was an uptick in price for the recommended system from $2500 to $2800 for an 8-core 2.8 GHz Xeon Mac Pro.

There are some other improvements in the system architecture and early results show good improvements in system performance. While adding 4 more cores doesn't double the speed, these systems look signficantly faster than older Mac Pro's, especiallly in encoding video. Check out this benchmark test from MacWorld for more info:
"From the Lab: Internal changes bolster latest Mac Pro"
I was surprised at what low marks they gave the internal hard drive that ships with the new Mac. I've always assumed that those had decent performance, but MacWorld found a significant speed bump on their multi-app test by putting a hard drive from an older Mac Pro into the current 8-core 2.8 GHz Xeon. For some good specs on hard drive performance, check out Bare Feats. Apple also has some performance comparisons with other Mac towers here, including rendering & encoding with FCP and After Effects.

There had been rumors that Apple was ready to add a Blu-ray drive for playing back high-def movies to the Mac Pro's. For PC's, adding an HD DVD or Blu-ray drive, or both, is now a common option. Nothing from Apple about Blu-ray for these new computers, but an announcement could come at the MacWorld Conference. I'm anxious to see Apple add Blu-ray disc authoring to DVD Studio Pro, as well as decent support for the HD DVD standard. Adobe's Encore already does this. Commentator Bob Cringely suggests that Jobs will ignore high-def discs because he sees them as a threat to iTunes ruling the media world in his latest column (he also thinks Apple will buy Adobe, which seems a bit far-fetched to me.)

How much is that old Mac worth?

This is a cool site. mac2sell.net estimates the resell value of your old Mac. You enter in your specs and it guesses the value. I'm not sure how accurate it is, but it's a place to start when thinking about how much you might get if you want to sell (or how much is reasonable to pay if you want to buy.) My iBook G4 933 MHz is worth $440 according to them.

New MacBooks, Still No Good with Final Cut Studio

Apple did a speed bump on the MacBook's today. Nothing major. The MacBooks don't have a dedicated graphics card, which is problem with some aspects of running Final Cut Studio like Motion. You can do some stuff with Final Cut Pro 5.1 on it, but you aren't supposed to run it on a MacBook. So nothing has changed about it. As for FCP 6, we'll have to wait and see until the software is out, but it isn't officially supported on the MacBook either (or the Mac Mini for that matter.)

Mike Curtis at HD for Indies writes about this here. He actually has a MacBook and goes into more detail on his site about what the MacBook will and won't do with Final Cut Studio.

So if you want to run the whole Final Cut Studio on a laptop, you'll have to pony up for the MacBook Pro.

ProRes 422: Apple New's High-Quality Codec for Post

I think that I downplayed the significance of ProRes 422 in my write-up of Final Cut Studio 2. After doing some more research, it seems like a real great codec. I just read an Apple white paper on ProRes 422 (PDF file) for lots of good detail on what I think is a big addition to FCS.

Here's Apple's summary of what's so great about ProRes 422:
Enter Apple ProRes 422, a new format designed for pristine HD quality, economical hardware confi gurations, yet high-performance, multistream Final Cut Pro real-time editing—for both high-defi nition (HD) and standard-defi nition (SD) formats. Apple ProRes 422 features:
• The quality of uncompressed HD at data and storage rates lower than uncompressed SD.
• Performance comparable to or better than the existing HD codecs in Final Cut Pro.
• The ability to work with HD on slower drives, and with more users on shared storage.

In my FCS2 write-up, I thought that ProRes 422 was all about the the $3500 AJA IO HD. But Apple says in the white paper, "Capture ProRes 422 in real time from any HD-SDI source." OK. I'm used to having Blackmagic or AJA point out support for specific codecs with their hardware, and I haven't heard any mention from them about supporting ProRes 422 (except for the IO HD.) But for the time being, I'm going to take Apple at its word.

But ProRes 422 isn't just for folks with those super-expensive decks with HD-SDI outputs. Apple mentions that you can mix ProRes 422 in a timeline with native HDV footage:
"Through a new user preference in Final Cut Pro 6.0, the editor can choose to render projects in HDV and XDCAM HD using ProRes 422. This will result in faster rendering time and a higher-quality 4:2:2 composite. For projects that are mastering to HD-SDI, ProRes 422 is the perfect rendering choice. "

So capture your HDV in its native codec, low-bit rate codec (lower bit-rate than ProRes 422). But then don't render effects in highly-compressed MPEG-2 codec. FCP 6 doesn't mind having HDV and ProRes 422 in the same timeline. Well, this changes a lot of my thinking about editing HDV in other codecs as the best way to post it The new ability to mix codecs in the same timeline, really means capture in the native codec if you can (no conversion/transcoding and you don't have to use more bit-rate or storage on a higher bit-rate codec until you render something.) And you don't need some 5-drive RAID to play back those high-quality renders--my guess is that a G-RAID will play back the highest bit-rate ProRes 422 fine.

ProRes 422 also support 720x486 standard-definition resolution. This is a 4:2:2, 10-bit codec at rates comparable to DVCPro50 and IMX 50, which are only 8-bit codecs. So Apple doesn't mention how you can capture SD into ProRes 422. It seems like again it is a good option for rendering at the least.

So again:
-For all intensive purposes, visually lossless
-HD quality at SD files sizes
-Do more with your video--your drives can feed you more streams and the processors can handle the footage faster than uncompressed

Apple also alludes to support from Sony, Panasonic, and RED. It would be interesting to have some of these tapeless cameras capture directly to ProRes 422 if it really is such a great codec, but it's not clear what other manufacturers might do with the new codec.

More on ProRes 422:
Studio Daily: "EXCLUSIVE VIDEO DEMO: ProRes 4:2:2"
Apple Insider: "A closer look at Apple's new ProRes 422 video format"