Apple’s positive future for pros

9to5Mac’s Michael Steeber looks back at Apple’s recent history with its pro customers:

To say that the initial release of Final Cut Pro X made waves in the creative community would be an understatement. Among full-time video editors, the shakeup is still spoken about with the same energy as it was seven years ago. Most users felt burned by the upgrade, and many bailed on Apple’s video tools altogether. Two years later, pros were wowed by the radically redesigned Mac Pro, only to be left in the cold without another meaningful update. It was a tough time to be a pro customer.

I launched this site way back in 2011, not long after the release of Final Cut Pro X 10.0, and I had some thoughts at the time. A lot has changed in the years since. Steeber recaps the just-completed FCPX Creative Summit:

This past weekend told a different story. After last year’s impressive announcements, video professionals gathered once again in Cupertino to hear about Final Cut Pro 10.4.4. After seven years of iteration, Final Cut Pro X is no longer the stripped down, controversial editing “toy” it was once perceived as.

New workflows have been developed. Features have returned. The industry is taking Final Cut seriously again. The question is no longer “are you still using Final Cut?” but rather “how are you using Final Cut?”

I can say that I share these sentiments. As I wrote earlier this week, Apple is taking the pro market seriously, and making significant gains in both hardware and software development. It’s an exciting time to be a creative professional.

2018 FCPX Creative Summit

I’m excited to be a part of this year’s FCPX Creative Summit in Cupertino November 16-18, where I’ll be talking about some of my editing workflows with Final Cut Pro X on large scale promotional campaigns.

I’ve been an editor for over 20 years, hopping platforms from linear tape, Avid Media Composer, Final Cut Pro “Classic”, to Final Cut Pro X, with side trips into Adobe Premiere Pro and Blackmagic Resolve.

Apple used 2017’s Summit to unveil FCPX 10.4 running on the new iMac Pro, so with any luck we’ll have some interesting news this time around.

Happy Mojave Day

With all the iPhone and iOS news of the past few weeks, you’d (almost) be forgiven if you didn’t notice that today Apple released a major update for that other little platform they support: the Mac. I found Jason Snell’s writeup at Six Colors to be insightful:

macOS Mojave is an update that straddles the line between past and future. It feels very much like the first era of Mac OS X has drawn to a close. What comes next will almost certainly be informed by the success of iOS and powered by apps that got their start on that platform. It’s entirely possible that in five years, Macs will have touchscreens and run on Apple-designed processors. Whatever the details, the Mac has begun to turn into whatever it will be for the next phase of its life.

Tour de France and the switch to FCPX

Peter Wiggins, for fcp.co:

I was starting to get concerned about how long we could continue to edit in FCP7. By now it had had no support for three years and very little in the way of updates for 2 years before that. At some point it was going to break, already we were seeing slowdowns and hangs. Yes we could probably hold out another year but that would be all. Time to look for a replacement.

All in all a great read, and much of what Peter describes is what FCP7 editors have been grappling with since 2011.

Jumping off the cliff

It’s been a while since I’ve posted, and that’s largely because I’ve been deep in a project that I recently completed, and it just happens to start airing tonight.

The show I worked on was somewhat complex in its source material, organization, assembly, and deliverables (multiple versions for different media outlets) and I stayed within FCPX for all of it.

On day one of the job, I stood on a metaphorical cliff deciding which NLE to use (my choices at hand were FCP7, Premiere Pro, and FCPX). As a bit of history, I started using Avid from 1995 to 2001, FCP “Classic” from 2001 to late 2012, and from there began testing the waters with Premiere and FCPX. I had lingering concerns about how FCPX would perform with an increasingly complex project, but the first few days were comprised mostly of logging and tagging sources, so I had a window of escape to another program if things started going downhill.

They didn’t.

FCPX performed quite well. I set up some hotkeys to tag media using keyword collections, and was able to very quickly get things organized. Switching between list and thumbnail view, or drilling down to only favorites were a few more keystrokes. It was all fast and fluid.

I was also dealing with many tracks of timecode-synced split audio files, so I selected them and created multicam clips, cut them into the timeline, and activated only the channels I needed in any given instance. When it was time to send the show to ProTools for the final mix (using the rock-solid X2Pro application), only the active tracks I chose were included in the AAF. Very convenient, and it kept the timeline streamlined. Speaking of the timeline, the timeline index was indispensable. With a click I could enable or disable music or effects globally, and I regularly used the search field to track down and select specific items in a sea of other clips.

FCPX’s most “controversial” feature, the magnetic timeline, is also fast and flexible in my opinion. I found that during the rough cut phase I could do a lot without taking my hands off the keyboard- no tracks to patch. In X I tend to do a “sketch” of the story I’m telling by quickly getting the pieces in place, and then I go back through and refine my edits. It’s nice to know that I can drill down to a specific moment in the timeline and make adjustments knowing that I’m not knocking something out of place further down in the sequence.

There were other little features in X that I appreciated. The Vimeo integration was handy for firing off a version for approval while I kept working on a different part of the show. The to-do markers helped to keep track of changes. Having color correction and image stabilization options built into every clip (as opposed to applying a filter each time) was great.

Overall I was glad I jumped off that cliff.

FCPX’s “Cold Mountain” moment

Editors familiar with Final Cut Pro’s history know that the legacy version of the application gained some major traction in the pro marketplace following Walter Murch’s decision to edit 2003’s Cold Mountain with FCP.  Over a decade later (and almost three years after its release) Final Cut Pro X is on the edge of a similar game changer.

This week, fcp.co linked to a ten minute presentation from Neil Smith from LumaForge at the Digital Cinema Society meeting last month.  Smith describes (without giving names) how a major Hollywood studio is editing a “100 million dollar movie” using six Final Cut Pro X workstations running Mavericks and connected to an Xsan.  In listening to the details that Smith lays out, it was surmised by fcp.co forum member Ronny Courtens that the film in question is Focus, starring Will Smith.

The obvious question: why is a Hollywood studio going against the Avid grain to cut a motion picture in X?  According to Neil Smith, the directors themselves are the driving force- they have been editing with FCPX on their MacBook Pros for two years and insisted upon using it for this feature.  The studio pushed back, but the the film’s producer had enough clout and sided with the directors, and they got their way.  They touted the creative power and flexibility of X as well as the relatively low cost of the buildout as the main reasons behind their decision.

2014 should be a tipping point for Final Cut Pro, one that’s been in the making for quite some time.  New Mac Pros will (finally) be arriving in editors’ hands, and the solid upgrade to version 10.1 (its 10th revision since 2011) brings FCP to a new level of capability in a shared professional environment.