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There are some signs that Apple is doubling down on Final Cut Pro X. I realized that this was because they didn't have the baggage that seasoned editors had when it came to non-linear editing software.
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I felt better about it, but it wasn't until I was teaching students the new software that it dawned on me: this wasn't just a different way of doing things, it was better.įor my students entering the video editing world for the first time as young journalists, this made much more sense to them. The value of proper training can’t be understated, and that goes for any software. Once I took a proper workshop from someone who knew what they were doing ( Curt Chandler, of Penn State, by the way), things got much better, and my timelines started looking like the featured image above. But that was because I was thinking about the old-school way of editing, trying to use Final Cut Pro X as if it were Final Cut Pro 7 and there was the fatal error. It was mostly my fault, since I had no idea what I was doing.
This first timeline I ever created in Final Cut Pro X was so bad, I had to take a picture of how disorganized it all looked. I tried to wing it the first time, and my sequence looked like this:
But they switched to Final Cut Pro X, and I was forced to learn an entirely new platform. I advocated for Premiere Pro when the school I worked at wanted to switch systems after Final Cut Pro 7 was retired. I’ve been shooting video since 2006 learned to edit on Avid Xpress Pro while working for Gannett. I’ve trained other educators on it at workshops, and I used it to edit my videos when I was PC-only. I used to be big on Premiere Pro (and it’s still a great piece of software). If I had paid the monthly fee, even at the educator rate that I get as a professor, I’d be out $1140. What Apple did with Final Cut Pro X was finally acknowledge that these conventions were no longer necessary in the digital age, where people were using phones and file-based video cameras.įinally, one major factor is price: I paid $299 in September 2012 for Final Cut Pro X, and I haven’t had to pay a cent since. There was also speed improvements that background rendering brought to the party, and I’ve never had to worry about setting my capture scratch ever again.Ī lot of the editing paradigms that were present in Final Cut Pro 7 (and are still around to an extent in Premiere Pro) existed because they were rooted in tape-based workflows of old. Syncing audio became easier with automated syncing tools – the closest equivalent at the time was using a plugin called PluralEyes for Adobe Premiere Pro. Speaking of arranging clips in odd ways, without the track-based system, J-cuts and L-cuts became much simpler, with just a double click of a clip and a drag to where you wanted audio or video to come in or out. Clips just automatically flowed together and you didn’t have to rely on inserting slugs and arranging clips in odd ways. For instance, the Magnetic Timeline all but eliminated the flash frame/black frame problem that was so easy to miss in earlier non-linear editors. There were a lot of new features that made FCPX a better editor than the competition at the time. It was a bitter pill to swallow, that all of your lenses suddenly wouldn’t work with the new generation of cameras, but it was ultimately the right decision. When Apple introduced Final Cut Pro X, it was like the same shift Canon users had going from the FD mount to the electronic EF mount in 1987. This is great for backwards compatibility and keeps in place a familiar interface that people know and love, but it doesn’t push the envelope for fear of alienating core users.
This shift in software and the different paths that Adobe and Apple took with Premiere Pro and Final Cut Pro X essentially mirrors what the big two camera companies did in the 1980s, although with very different results.Ĭonsider Adobe’s Premiere Pro the software equivalent of the Nikon F-mount – it has changed, for sure, but fundamentally the guts of the software and the way it works haven’t.
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In its initial version the software was somewhat incomplete (no multicam editing off the bat was a big one, but came in an update six months later), and there was no way users could migrate their existing projects over to the new version.
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