Traffic from xm|edit is so much more than just a new software utility for power users of Final Cut Pro. If you think you’ve got all the tools you need inside FCP, think again. With its visual, node-based interface that automates repetitive tasks that aren’t easily done inside Final Cut’s timeline interface, Traffic is a whole new way of working.

Sequences, clips, bins or entire Final Cut Pro projects are exported as XML files that are then imported to Traffic. Traffic has a browser that’s essentially identical to the one in Final Cut Pro. But this is where the interface similarity ends, since Traffic’s interface is more like Apple Shake than any other timeline-based NLE. For those of you who also do a lot of visual effects, you’re already used to programs with node-based interfaces; you need those nodes to move through a lot of repetitive procedures and make changes on a global level, not just at one point in the timeline. Traffic applies a similar approach to repetitive editing tasks.

To work with a clip, sequence, bin or project, simply drag it from the browser onto the large open Traffic workspace, where it becomes a clip-source, bin-source, sequence-source or project-source node. The nodes, which are really just variations on boxes or pull-down menus containing parameters, have inputs and outputs attached to their sides. Just arrange the nodes on the desktop and connect the various inputs and outputs by dragging them from one to the other, to enable automatic operations.

In addition to your source nodes, there’s also a set of about 20 built-in nodes that perform specific functions. For instance, the "Clip Trigger" node lets you set conditions, such as time-code position or tape number, that will trigger another operation. You can see how the sometimes lengthy and less-than-exciting task of copying color correction or other filters from one clip to many others becomes simple and quick. I like the node called "Loop Loop" that lets you set up a loop and then automatically cut in new footage; it’s great for adding in custom tags to a commercial, for example, without having to edit them individually. The list of node tools includes generators for bars and tones, lower-third graphics and a tap cutter for cutting rhythmically to audio.

Traffic is a stand-alone application, not a plug-in, and should work with any NLE that supports Apple’s XML Interchange Format, including Final Cut Pro, Autodesk Discreet Smoke, Fire and Lustre, Silicon Color Final Touch HD and Media100i, 844x and iFinish. You can also use Automatic Duck plug-ins to make it work with Avid systems, Adobe Premiere Pro, Discreet Combustion and Quantel iQ. Word from the founder, Forrest Maready, a long-time editor himself, is that versions that work directly with other NLEs are already in the works.

Traffic is an exciting product due to its interface alone. But third-party plug-in developers have already created some nice plugs for it that extend its use even more. While it’s very useful now, I’m told that there will be many new features that will extend its capability even further in the near future. It’s already become a part of my workflow.