NLE Software Round-Up at NAB by Michael Perlman Published on Apr 17, 2007 9:00 PM

Las Vegas, NAB, April 16, 2007 – Among the torrent of news and releases at NAB this year, several popular non-linear editing (NLE) software packages have either been updated or revamped entirely. As manufacturers battle for the spotlight, one thing is clear: the line between Hollywood and home editing has blurred considerably. Tools once the domain of million dollar editing houses have been stuffed (perhaps to overfill) into software bundles under $1500 dollars. The names are familiar – Adobe Premiere, Apple Final Cut, Avid, and Nero – but the list of features has grown immensely.

Final Cut Studio 2
$1299 (MSRP)
Apple announced their latest version of Final Cut software, Final Cut Studio 2 at NAB, which features motion tools, audio editing, and compression. The new Color application was also introduced, allowing for powerful color correction.

Final Cut Pro 6 features an Open Format Timeline that enables users to import video clips from a wide variety of formats and frame rates into one single timeline without the need to transcode. A new 10-bit 4:2:2 post production format called ProRes 422 enables users to work with uncompressed HD quality video and output to standard definition file sizes, which aids laptop-based field work in conjunction when working with large file formats like uncompressed HD (this will have little use for users limiting themselves to HDV, which is already heavily compressed compared to pro formats).

Apple’s revamped motion graphics software, Motion 3, now brings 3D to the editing pane. Based on the original Motion graphics software, Motion 3 includes vector based paint tools, vector artwork, and line drawings for an editing experience similar to Photoshop with the animation capabilities of Adobe After Effects.  

New streamlined multitrack audio editing and recording is implemented within Apple’s latest audio editing software, Soundtrack Pro 2. The software includes a new heads up spotting display for syncing video effects and dialogue with the video image, the ability to save 5.1 and stereo mixes in one project, and access to a royalty-free library of over 5,000 professional sounds.

Screen shot from Final Cut Pro

The ability to encode to MPEG-2 and H.264, amongst other standard codecs, is made possible within Apple’s newest compression software, Compressor 3. In addition, filters like fade in/out and animated watermarks can be applied during pre-processing. However, owners of certain consumers camcorders should note that not all MPEG-2 models, including popular DVD and HDD camcorders, record in proprietary formats that cannot be imported into any NLEs without first doing some conversion work. And as for AVCHD camcorders… it may not be until late 2007 that NLEs will offer compatibility.

Apple Color was introduced within Final Cut Studio Pro 2, a comprehensive makeover on Apple’s previous color enhancement feature found in earlier versions of Final Cut. Most users will find Apple Color to be geared towards professional and broadcast applications. The program functions on a round-trip, task-based workflow in which users can send footage into multiple “rooms” to be treated for different forms of color correction before returning to Final Cut for finalizing. A new 3D color space scope displays chrominance and luminance and can be stretched and manipulated to alter RGB, HSL, Y’CbCr, or IPT values. Primary grading tools apply to whole image adjustments, including highlights, midtones, and shadows. Lift, gamma, gain, and saturation are available in primary grading as well. Secondary grading hones in on specific areas of the scene and allows for the adjustment of hue, saturation, and luminance values. Interactive 2D scopes such as waveforms and vectorscopes provide instant color adjustment.

The Apple Final Cut Studio Pro 2 editing suite will be available in May with an MSRP of $1,299 for new users, $499 for an upgrade from the current Final Cut Studio Pro version, and $699 for an upgrade from any previous standalone Final Cut software. More at http://www.apple.com/finalcutstudio/finalcutpro/.

Adobe Creative Suite 3 Production Premium
$1699 (MSRP)

For the last 4 years, Adobe Premiere has been couched within the Production Suite, extending a huge array of tools from supporting applications to video editors. CS3 Production Premium software provides users with numerous cross-platform capabilities.

“With CS3, you can output everywhere; everything is integrated from on location to post production,” says Giles Baker, Product Manager for Premiere Pro and On Location. Premiere Pro remains the central force behind editing capabilities, including HDV support and real-time rendering. The new After Effects incorporates the ability to shape layers, animate objects with the “Puppet” tool,” and utilize per-character text animation. On Location, previously known as DV Rack, is included in the new CS3 and users can record footage directly to a hard drive, eliminating the need to capture in the studio. Because everything is integrated, content like video clips, audio clips, and special effects can be modified multiple applications without having to render first.

Audio tracks within Premiere can be sent to the newly introduced Adobe Soundbooth CS3. Designed for the non-audio professional, the software offers several tools for more comprehensive audio editing than can be done in Premiere alone. The most promising function appears to be a new render and replace technology which allows users to isolate a particular segment of audio and silence or edit that fragment of sound. A spectral frequency display permits users to choose which parts of the track to be adjusted. This was demonstrated, to applause, at the Adobe press event by the removal of an unwanted cell phone ring from an interview clip.

Screen shot from Premiere Pro 2

Another feature of CS3 is the ability to export deliverable videos through Adobe Encore. In Encore, users can optimize the videos to cell phones, iPods, and PSPs, to name a few. Users can actually preview of their video on a simulated display of cell phone before exporting, thanks to a built-in library of current models. The ability to export to flash is made possible within Encore, as well as MPEG-2, H.264, and MP3.

Adobe CS3 Production Premium shipped today and retails for $1,699. An upgrade from CS2 runs for $799. A free 30 day beta trial version is available online. More at http://www.adobe.com/products/creativesuite/production/.

Avid Liquid Chrome XE / Media Composer 2.7
$999 MSRP, $4,995.00 MSRP

Avid introduced their newest version of Liquid at NAB, Avid Liquid Chrome XE. The new NLE editing solution runs in tandem with the AJA XENA LHe board for an economical SDI (serial digital interface) I/O alternative. Avid revealed the new Avid Liquid 7.2, which features updated camera support. 

Avid Liquid Chrome XE runs on Avid Liquid version 7.2 and requires the purchase and installation of the AJA XENA LHe board, an SDI for transferring and capturing uncompressed video for post production. Avid Liquid Version 7.2 supports a wider range of HD cameras including JVC HDV 720 24p/25p/60p models from the GY-HD100 and 200 series, Panasonic DVCPRO HD, and Canon 1080 24F/25F/30F from the XL H1 (Specs, Recent News, $7947.89). Avid Liquid Pro is available with a USB analog breakout box for importing media from a variety of sources and supports fire wire, composite, component, or S-video standard-definition (SD) video.

“The Avid Liquid product family can meet the needs of a diverse range of customers, from the serious event videographer who wants to work with a variety of native HD formats down to the independent producer looking to output creative work to a portable device like a PSP,” stated Hans Venmans, worldwide product marketing manager for Avid Liquid.

Screen shot from Avid Liquid Chrome XE

And while this clearly falls out of the price range of anyone but a professional earning real bank, Avid also revealed their revamped Media Composer 2.7 software. The new professional editing suite is capable of integrating facial animation, full raster HD, and complies with Pro Tools audio software. Also included is an exciting feature called “Script Sync,” which provides users with the ability to drag a video clip into an actual script in order to maintain a workflow that is comparable to a live storyboard. The program is compatible with a number of I/O capacities, including SD and HD analog and analog/composite component video, XDCAM, and P2 workflow solutions.

Avid Liquid software begins at $499 MSRP for Avid Liquid 7.2, $999 for Avid Liquid Pro with the analog breakout box, $999 for the Avid Liquid Chrome XE software, and $1,790 for the required AJA XENA board, which is sold separately through AJA. Media Composer 2.7 retails for $4,995 with a $195 upgrade from version 2.5. The new Avid family is estimated to be available around late spring/early summer. More at http://www.avid.com/.