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. 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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