Apple’s newest edition of Final Cut Pro polishes an already mature, dominant video editor. That’s good news, since every Final Cut user will find clever, thoughtful refinements in version 7 that make life easier. But the focus on smaller tweaks has one drawback: it’s kept Apple from some fundamental infrastructure work that’s also needed. One of the Final Cut 7’s standout features is a new version of the popular ProRes codec, ProRes Proxy. Proxy lets you encode video into tiny file sizes that even low-end laptops and iMacs can edit, but keeps the video–even HD–looking surprisingly good (though not perfect). Final Cut makes it easy to convert existing video into ProRes Proxy, and for Web or DVD projects, Proxy’s visual quality may be good enough to use for your project’s final output. If not, it’s easy to reassemble your work in a higher-quality version of ProRes and then output from there. Final Cut Pro 7 is heavy on polish, but we wish it addressed a fundamental or two as well. Apple has also redesigned its Speed Change feature, which lets you speed up and slow down a clip at precise moments (you’ll see this effect in any number of commercials or music videos). Of course, Final Cut has been able to ramp between speed values for years, but mastering this effect previously meant working with arcane speed graphs. Now you can simply place key frames in a clip and then drag them together or apart to change the video’s speed or freeze it. It’s all very visual and intuitive. For editors who work off-site, Final Cut 7 has built-in support for iChat Theater, so you can create a videoconference with another iChat user and then play the video from your Viewer or the Canvas. It worked remarkably well for us using a 5Mbps cable Internet connection and should make life considerably easier for freelancers and those who edit remotely. iChat Theater gets a little choppy when showing video with quick cuts and fast-moving camerawork, but generally does the job well

