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Autodesk present the new $3499 Smoke 2013 Takes FCP7 XML and FCPXML in directly


We had the pleasure today of attending the launch of Autodesk's Smoke 2013 for the Mac at Dream Vision Studios in Las Vegas. Not to be missed was Evan Schectman's take on the product.



Our first thought when we saw the interface was that it looked a bit like the new Premiere Pro CS6, which would be to do it a huge disservice as of course Smoke is much more powerful. There does seem to be a unification of GUI design for editing going on though.

'Autodesk introduces Autodesk Smoke 2013 video editing software, a completely redesigned and repackaged version of the all-in- one video editing and visual effects tool for the Mac. Smoke 2013, born out of two decades of visual effects leadership, features a unified creative workflow that brings powerful node-based compositing right in the timeline at a new price of $3,495 USD.'

This is pretty incredible as not only has the app be redesigned from the ground up, it is going to sell for a fifth of the price of its predecessor.


Marc Hamaker, Senior Product Marketing Manager for Autodesk Creative Finishing Products explained that they had asked editors the question "What is your biggest challenge" The main response was 'Avoid messy workflows' and that led to the design for Smoke being track based but with the addition of advanced effects so that jobs can be completed in one app.

We were pretty impressed when Marc flipped the usual timeline based view into ConnectFX which gives an editable node based view of each effect. Then we signed and wished that Apple had done the same with Shake and Final Cut Pro X.


Key Features

The Smoke User Interface (UI) — An intuitive all-in-one creative workflow that combines track-based editorial, industry-standard editing conventions and proven Autodesk creative tools.

ConnectFX — Powerful node-based compositing inside the timeline for high-end effects and advanced compositing without leaving the editorial environment.

Creative Tools — A robust toolset with proven high-end finishing tools, Action for true 3D compositing,·the Colour Warper for professional grading and color matching, the Master Keyer for one-click chromakeying and stereoscopic 3D editing and effects.

MediaHub — A modern approach to working natively with the most common formats that facilitates·managing all project media from ingest to edit to effects and archiving.

Lower System Requirements — Runs on the most recent generation of Apple iMac and MacBook Pro·systems using high-bandwidth Thunderbolt storage and IO bringing true high-end video effects to flexible desktop and mobile workflows.


Then our FCPX evangelist Evan Schectmann took that stage to talk about how Smoke fits into his company workflow. You may recall Evan from one of the most watched videos on FCPX ever posted, he talked with the same enthusiasm and machine gun paced Keynote presentation. He showed some screen grabs of a project that was started in FCP7, moved to FCPX and then finished in Smoke. We also liked his quotation 'ProRes is the Esperanto of the digital world.'

We caught up with him afterwards and asked about the interchange of media between the apps. Smoke 2013 accepts FCP7 XML and FCPXML natively. There are some practices that you have to follow as some things won't make the trip, but it does a pretty good job.

Are you going to edit a feature film on it? No, but it seems an ideal tool for that 30 second ad spot with FX. In a business where time is money, Smoke 2013 will do well.

Priced at $3495, we think this is going to appeal to the type of editor or post shop that has to turn around a lot of visual effects quickly. A lot can be achieved in one app from simple timeline editing to full 3D tracking, 3D compositing and other features you would expect from a much more expensive product. We do think that pricing it at $999 would have been a killer blow, sold more copies and in the end made more revenue.

It will be available in the Fall, but you can register for the free trial which will be available in June and work until the product is released.

We will post the videos of the presentation when they become available.

Written by
Top BloggerThought Leader

I am the Editor-in-Chief of FCP.co and have run the website since its inception ten years ago.

I have also worked as a broadcast and corporate editor for over 30 years, starting on one inch tape, working through many formats, right up to today's NLEs.

Under the name Idustrial Revolution, I have written and sold plugins for Final Cut Pro for 13 years.

I was made a Freeman of Lichfield through The Worshipful Company of Smiths (established 1601). Though I haven't yet tried to herd a flock of sheep through the city centre!

Current Editing

great house giveaway 2020

2020 has been busy, the beginning of the year was finishing off a new property series (cut on FCP) for Channel 4 called The Great House Giveaway. I also designed and built the majority of the graphics as Motion templates. It has been a great success and the shows grabbed more viewers in the 4pm weekday slot than any previous strand. It has been recommissioned by C4 for 60 episodes, including prime-time versions and five themed programmes. The shows have also been nominated for a 2021 BAFTA.

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Although both were postponed to later in the year, I worked again on ITV's coverage of the Tour de France and La Vuelta. 2020 was my 25th year of editing the TdF and my 20th year as lead editor. The Tour was the first broadcast show to adopt FCPX working for multiple editors on shared storage.


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BBC's Snooker has played a big part in my life, I've been editing tournament coverage since 1997. I'm proud to be part of a very creative team that has pioneered many new ideas and workflows that are now industry standard in sports' production. This is currently an Adobe Premiere edit.

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Covid cancelled some of the regular corporate events that I edit such as trade shows & events. I was lucky however to edit, from home, on projects for Amazon Kindle, Amazon Black Friday, Mastercard and very proud to have helped local charitable trust Kendall & Wall secure lottery funding.

As for software, my weapon of choice is Final Cut Pro and Motion, but I also have a good knowledge and broadcast credits with Adobe Premiere Pro, MOGRT design and Photoshop.

Plugin Design & Development

I'm the creative force behind Idustrial Revolution, one of the oldest Final Cut Pro plugin developers. It hosts a range of commercial and free plugins on the site. One free plugin was downloaded over a thousand times within 24 hours of release.

I also take on custom work, whether it is adapting an existing plugin for a special use or designing new plugins for clients from scratch. Having a good knowledge of editing allows me to build-in flexibility and more importantly, usability.


Now in its 10th year and 4th redesign, running FCP.co has given me knowledge on how to run a large CMS- you are currently reading my bio from the database! Although it sounds corny, I am pretty well up on social media trends & techniques, especially in the video sector. The recent Covid restrictions has enabled live FCP.co shows online. This involves managing a Zoom Webinar through Restream.io to YouTube and Facebook. 

The Future

I'm always open to new ideas and opportunities, so please get in touch at editor (at) fcp.co. I've judged film competitions, presented workflow techniques to international audiences and come up with ideas for TV shows and software programs!


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