Oliver Peters talks to Knut Hake, the editor of the Netflix film Blood Red Sky that was edited on Final Cut Pro.
Apple has released a good update to the ProApps, Final Cut Pro to 10.6, Motion to 5.6 and Compressor to 4.6. iMovie gets some love too.
The tutorial videos about the updates to the ProApps have started to be published, Ripple Training being the first!
How do you automatically conform projects to a different aspect ratio for social media? Robin Kurz explains.
Now you can use 3D models directly in Final Cut Pro with Coremelt's ModelX. We also have a coupon code for money off!
FMC has announced that actor and producer Vince Vaughn will give a presentation at the 2021 FCP Global Summit.
Taylor Arndt is a tech blogger and a Final Cut Pro editor, the video posted is an edit from a recent livestream.
We take a further exploration into the video possibilities of the new iPhone 13. ProRes RAW? Sidecar depth info?
A colour grading tutorial for Final Cut Pro that starts from the basics.
In this tutorial we find out how to match different sounding voice clips in Final Cut Pro.
Today Future Media Conferences officially announced the seventh FCP Global Summit which will take place online in November 2021.
Panicking because you think you might have lost some work in Final Cut Pro? These tips might be able to help you get those timelines and edits back.
Iain Anderson runs through tips and tricks for Final Cut Pro and Continuum in Boris FX Live.
Watch a breakdown of a High School promo video cut in Final Cut Pro.
Oliver Peters takes a look at the new Boris FX Continuum FCP, a comprehensive package of effects for Final Cut Pro.
A new Workflow Extension for Final Cut Pro allows editors to preview, manage and set fonts without having to go through the dropdown list.
Upgrades to all the Pro Video Apps today. No new features, just stability improvements.
So what can you do to save disk space after you've finished a project, but you have too much media to consolidate?
A selection of tutorial videos that show what is new in Final Cut Pro 10.5.3 and Compressor 4.5.3.
Alex Lindsay's Office Hours crew talks about Final Cut Pro on its tenth anniversary.
Our favourite NLE is ten years old today. We look back at its launch, the troubled early years and what the future might hold as Final Cut Pro goes into early adolescence.
It is hard to stress Final Cut Pro's impact on the industry before FCPX. Yes, there were large installed Avid houses who scoffed at the thought of a cheap NLE and lower chargeable rates, but apart from those, as FCP had made editing available to so many, it was everywhere.
We had all watched the bootleg preview of FCPX from NAB back in April 2011 and expected a lot. Apple had 'bought out' the LAFCPUG meeting and demoed the new app to editors who had queued up to get in.
The simplification of the timeline looked incredible when the same cuts were shown in FCP7 and FCPX side by side. We had skimming, live waveforms, the magnetic timeline and clips getting out of the way when things moved. Features that really did look like they were the basis of the next generation of non-linear editors.
All FCP7 fans had been looking for major speed increases, over the last few years we had spent a lot of time staring at that render bar. Mass transcoding files to one codec to avoid crashes even led to rap videos.
The new technology that Apple had wrapped into FCPX made it feel like this app couldn’t fail. It was going to be fast. Videomaker was convinced, they awarded the unreleased Final Cut Pro X 'Best Editing Software' at NAB.
But the cracks had already started to appear.
Rumours started to circulate that features were missing out of the new app, such as capture from tape. A hack of Ripple Training's servers didn't help when social media posts showed screen grabs of a very slimmed down list of preferences.
The comparisons between FCPX and iMovie started, (which to be fair the app hasn't shrugged off to this day) unfair now possibly, but the Rottweiler Scott Simmons immediately got his teeth into an iMove/FCP comparison video.
Apple's server's must have glowed hot on June 21st 2011 when FCPX 10.0 was finally released.
Editors across the globe downloaded the app and started to explore the new features. It was a big change and we think the majority of users were left a bit dumbstruck as their 'tool of choice' had been completely changed to the point that they had to relearn how to edit.
The Top Ten Editors concerns about Final Cut Pro X
Features were missing, there was no broadcast output, no tape ingest, but these were dwarfed by the realisation that you couldn't open old FCP7 projects in FCPX.
Not strictly true, as Philip and Greg from Intelligent Assistance had been holed-up in the Apple skunk works developing an app that could take FCP7 XML and convert it into FCPXML that FCPX could read.
The launch was coupled with one of the most mindless marketing decisions Apple has ever made.
They killed Final Cut Pro 7
They killed Final Cut Pro 7
Overnight, FCP7 went from being the leading industry NLE, to an app that you couldn't buy and Apple didn't support. To paraphrase Steve Martin - The change from FCP7 to FCPX should have been a dissolve, not a cut. Unopened boxes of Final Cut Pro Studio 7 became like contraband as facilities scoured resellers for the last units.
Final Cut Pro X was attracting a lot of criticism, some of it very public and very embarrassing. In a lot of industry people's minds, it has never recovered.
I can't really judge how the Final Cut Pro team must have felt a few months after the launch, it must have been tough. But to their credit, they kept their heads down and carried on releasing updates, lots of them.
FCPX started to attract a following of editors who had ignored the barrage of negative social media and had actually tried it out. (FWIW I still encounter editors who are very vocal about their disdain of FCPX even though they have never used it!)
Users were attracted to its speed, the organisation tools, the ease with which they could upload to YouTube and Vimeo and more. Slowly Apple bought back features and added some reimagined new ones. Seven months on from its launch, the syncing of footage and the new multicam tools in 10.0.3 were revolutionary - no other NLE could touch it.
There was also the start of the huge FCP ecosystem. There were probably more FCPX tutorials on YouTube than all the other NLEs put together. The building of titles and effects in Motion led to the creation of a now super-saturated plugin market.
It seemed every six months we got a release that not only fixed bugs and fine tuned FCP for speed, but also came with new features, some aimed at regaining the pro market.
Those FCP7 editors who hadn't made the move to X, just carried on editing, it all still worked.
The brief of Adobe Premiere's new Product Manager was 'To eat Final Cut Pro's lunch'. It started with one of the most amazing pieces of software alchemy out there. They made Premiere's GUI dark, trying to shake off its rather Soviet inspired sparse light grey look. It was touted as the direct replacement for FCP7 for all those who didn't want to make the jump to FCPX.
Underneath its new appearance it had the same old clunky, crash inducing code and the Adobe engineers embarked on a long game of 'Whac-A-Mole' squashing bugs.
But it started to gain traction, even though it lacked essential editing tools like a Clip Mixer. To their credit, Adobe listened and added features as fast as they could, which in a way was a problem as some of them were not really that well executed.
FCPX was a source of inspiration, Skimming led to HoverScrub, Motion plugins led to the nightmare that is MOGRTS, the multicam tool could now do more than 4 angles. They were developing at a pace that was to outstrip Apple and in the industry's eyes, they had made FCP8.
Its biggest selling point though, was that it was available on a lot of users systems already. If you used Photoshop and/or After Effects, then you could get Premiere for free in the new Creative Cloud subscription. Going cross platform also helped build the user base.
Whilst all this was going on, Blackmagic whose wallet was bulging after selling so many I/O cards, had acquired da Vinci Systems. Grant Petty's mission was to provide colour correction tools to everyday video and film editors that had previously cost hundreds of thousands of Dollars.
He did a good job too and many productions were tripping over to Resolve for finishing as FCP users were rather underwhelmed by the basic Color Board.
But Grant had a bigger plan, NAB after NAB saw a new Resolve launched with evolving editing tools. We are now at the point where Resolve is perceived as an editor with advanced colour correction as opposed to a colour corrector with good editing tools!
The pace of Blackmagic's development of Resolve has been very fast, couple that with a free version that anybody can download and use - and you have the reason why Resolve is gaining support across the board, from broadcast TV to YouTubers; feature films to weddings.
Both Premiere and Resolve have learnt from Final Cut Pro, they have used the app for inspiration, but moved forward in the traditional 'two-up' source and record paradigm that editors are very comfortable with.
Oh, and during these ten years, Avid has just been Avid.
We got in early with an article about what we would like to see in Final Cut Pro over the next ten years, so we won't bore you with duplication.
Final Cut Pro - The Next Ten Years
Looking back over the ten years, we think Final Cut Pro's perception in the film and TV industry is still coloured by the rather disastrous launch. Thankfully, the person (above the FCP team) who was responsible for that colossal marketing misjudgement has left Apple.
Premiere and Resolve have silently and slowly mopped-up the editors who don't want to liberate themselves from tracks, bins and audio patching.
The way forward for Apple is two pronged, innovate and then communicate with users and potential users.
Firstly, Apple is positioned perfectly with the new M1+ machines to tune FCP for maximum performance that the other NLE companies will struggle to match. They also need to get their development mojo back now the transition to Apple Silicon is well under way. Surely a super-simple but very powerful collaborative workflow is just around the corner?
The last few releases seem to be a bit thin on the ground feature wise - will 10.6 be the large update we have been waiting for? (Dupe detection anyone?)
Secondly, Apple needs to shout more about how great Final Cut Pro is. Now, we are not suggesting a TV spot like Adobe's Premiere Pro commercial that probably only touched the NLE to match back up with the soundtrack. We are talking about getting back involved with the community.
Apple has axed its training program, its certification process, it doesn't officially appear anymore at NAB or IBC. Over the last few years, things have slightly changed, the Cupertino omertà lifted with the chance to question the Pro Apps team at the FCPX Creative Summit.
But, it's not enough!
Apple need to promote Final Cut Pro more. It's worth it, it sells Macs.
The amount of users wanting to produce video is growing day by day and FCP needs to be in front of them as they make a choice on how they are going to edit. FCP will always have the users who have upgraded from iMovie, but there are so many more who now see Premiere as the 'Pro solution' and thus the thing to aspire to.
This is well within Apple's power, they have a track (no pun intended) record of changing the way people think or completely revolutionising an industry with a product.
So, after a difficult birth and competition from its siblings, let's hope that Final Cut Pro grows into a popular teenager that everyone likes.
16 new backgrounds for iMovie that can be used in Final Cut Pro and some very curious new Motion discoveries. Copy protection being one of them.
Ryan Green, a YouTuber & Audio Engineer joins Dylan Bates to demonstrate sound mixing in Final Cut Pro.
A new App & Workflow Extension called Media Sync Tool allows the easy syncing of rushes in Final Cut Pro.
Monogram has announced that you can now control Final Cut Pro through their range of modular control surfaces.
Have you ever wanted to follow your passion by traveling the world as a digital content creator? Modern filmmaking methods and distribution outlets have made that possible.
Sam Mestman has been busy, his film community has been publishing free Final Cut Pro tutorials. He's also organising a film competition for micro-budget features.
In an article about the next ten years for Final Cut Pro, we suggested automatic keywording of media. That's now a reality with a new app from Ulti.media called FCP Video tag.
Three for the price of one! Three Final Cut Pro editors share their best editing tips.
In this new Final Cut Pro tutorial, Emilio Takas explores the different types of blend modes in Final Cut Pro.
8K60p REDRAW, a Mac Pro, a Pro Display XDR, Final Cut Pro and the legendary Nile Rogers. Another superb FCP user story from Ronny Courtens.
iMovie is a good place to start a life as an editor, but it’s got several limitations. If you’ve done a few projects and you’re looking for more freedom in how to place clips, how to finesse your edits, or simply need a wider selection of titles, Final Cut Pro is an obvious next step.
Tired of waiting around staring at a Final Cut Pro's export progress? Now you can get remote notification when it has finished.
You’ve just purchased a shiny new Blackmagic URSA Mini Pro or Pocket Cinema Camera and are looking forward to the benefits of shooting camera raw. Oops! Final Cut Pro doesn’t support BRAW. Sure, you could use DaVinci Resolve, but you’d rather stay within your preferred editing ecosystem. Fear not, Color Trix has your back.
It has been a long time since we had a #freeeffectfriday! Let's fix that by publishing links to three, free great effects for Final Cut Pro.
A whole day of free presentations aimed at people who use Apple products to make videos? Can't be bad!
There are many ways to organise media in Final Cut Pro, Serge takes a look at few techniques.
If you are mixing audio for delivery using your NLE, you need to not only monitor levels, but also check the loudness of the entire programme. Oliver Peters explains levels, loudness and LUFs.
No direct YouTube export in Final Cut Pro? Serge shows you how to configure the best YouTube export settings in FCP and Compressor.
In this new tutorial, Jenn looks at keyframing in Final Cut Pro and Apple's Motion
CoreMelt has just released a new Final Cut Pro plugin- StyleX: Grunge, powered by machine learning.
How do you shoot ProRes RAW and then control the ISO and white balance afterwards when editing in Final Cut Pro?
One of the things that can confuse beginners is the Magnetic Timeline in Final Cut Pro. This tutorial should help!
What happens when a Hollywood editor uses Final Cut Pro to cut a film for the first time? Here's part two of the journey.
Time for Steve, Mark and RipppleLIVE episode number 27. An hour and a half of Apple Pro Apps tips!
Iain Anderson takes another look at iMovie - Is it a gateway app, Final Cut Pro lite, or more?
Multi-stage colour correcting of S-Log3 footage in Final Cut Pro.
Six years ago, my producing partner Lilit Pilikian and I set out to make a documentary called “100 Years from Home” about the lasting impact of a genocide that nearly annihilated a people.
Want to know all the major shortcuts for Final Cut Pro in 15 minutes?
How Final Cut Pro is helping viewers come along for the ride in the cockpits of YouTuber's private jet flights.
Updates to all of the Pro video Apps today -Motion looks the most interesting with a new Auto-Shrink option in text layouts.
Lee Herbet has some good advice for cinematographers that need to edit, putting together a showreel for example.
The trailers in iMovie are a quick way to make highly polished short promos. But what if you want to use and modify them in Final Cut Pro?
A new app allows you control precisely which plugins get loaded for use into Final Cut Pro libraries. Enable/disable, make folders and favourites, all with FCPX Manager.
You can't just drop iPhone 12 footage into a REC 709 project in Final Cut Pro, Serge M explains why and more importantly, how to fix it.
Online tutorials are great, but some people prefer a hard copy to learn from. We take a look a the best books for the Apple Pro Video Apps.
Thomas Grove Carter starts off a series of short Final Cut Pro tutorials with four published today.
We are all used to the excellent proxy workflow in Final Cut Pro, but what about using camera generated proxies?
A detailed and concise explainer on how to transfer Final Cut Pro Libraries between editors.
In this new tutorial I'll be showing how to animate text in Final Cut Pro using keyframes.
Professor Simon Holland runs through the editing kit he uses making videos for his popular YouTube channel.
Tired of having to load each LUT to see what the effect will be on your footage? Color Finale LUTs collates and previews your LUTs for you.
Watch how Daniel Schiffer makes a demo smoothie commercial in Final Cut Pro from a very simple beginning.
This week I take a look at different ways you can use the Position Tool in Final Cut Pro.
This has to be tip of the week. A great free resource for making graphics for videos with a few clicks.
Hi, I am Alex, I am an editor and a software developer and recently I released this macOS app, FCP Diet 2.
Work a remote machine running Final Cut Pro or share your live edit session with Splashtop.
A new audio plugin from zplane allows you to remove frequencies in the stereo image by just drawing a box around them.
This time we are going to look a the various options when using the Image Mask effect in Final Cut Pro.
We have all had that red 'T" onscreen at some point in Final Cut Pro. Here's a quick and easy fix.
Have you been put off by transcription services uploading your sensitive data to the cloud? Now you can stay local with Simon Says On-Prem.
Some great tips from Final Cut Pro editor Rafi Saar on using audio in multicam clips in Final Cut Pro.
What does it take to convert a Hollywood editor to Final Cut Pro? in this series of videos we will find out.
It has been two and a half months since Apple announced the new M1 SOC Mac mini, MacBook Air and 13” MacBook Pro. So after a good couple of months with a 13” M1 MacBook Pro, I thought I’d put together my findings to help those out there who are thinking of buying one.
Find out how to change the display of metadata and configure the XML export options in Final Cut Pro.
Are there big differences in trimming between Avid and Final Cut Pro? LA-based editor Josh Beal compares the two NLEs.
In the first of a few articles about shared and remote workflows, we thought it would be a good idea to start by sharing the just published white paper 'Final Cut Pro Shared & Remote Solutions'.
In this week's MacBreak Studio, it is all about keying out a subject on white.
Did you know you can change the duration of more than one transition at a time in Final Cut Pro?
Oliver Peters runs through his shooting and editing iPhone workflow including using FiLMiC Pro and Final Cut Pro.
What makes an advanced Premiere editor change NLEs to Final Cut Pro? The guys at the Summit Bid tell us why.
Join Sam Mestman as he presents a beginners guide to Final Cut Pro, this Thursday 21st January at 10am PT, 11am MT, Noon CT and 1pm ET.
Evan Cabral takes us on a timeline tour in a recent Final Cut Pro project of his where the client specified they wanted good sound design.
Why do so many FCP editors have problems with multiple layers?
CSV to Motn is an app for creating videos out of data from a CSV file. The app uses data from a CSV file and turns it into motn files, these can then be rendered with either Compressor or a droplet from Compressor.
As we celebrate the end of 2020, it is time to look back at the highlights in the world of Final Cut over the last 12 months. It was a year of a flurry of software updates from the Final Cut team plus many hardware updates from Apple. It also saw an acceleration of editors working remotely and big improvements to the hardware and software of video production.
Watch the keynote speech from the FCPX Global Virtual Summit: Andy Stein from the Orphaned Starfish Foundation.
In this new live episode, we try to answer as many questions about Final Cut Pro and Apple's video apps as we can. Mark is live from Belieze!
We have all seen a lot of 'virtual choir' videos recently. Oliver Peters took the concept a stage further and edited a whole hour and a half virtual holiday cabaret show. In Final Cut Pro, of course!
Yes, I admit it, the title is kind of clickbait. But it is true, I did work a lot on the rough cut of our latest 76-minute music documentary while sitting in a bus for hours, travelling across Iran to our next filming location.
Simon Says has expanded its popular transcription service by adding 'Simon Says Assemble'. A web based, collaborative 'drag and drop' assemble tool for editing together interviews.
In this tutorial, you can find out how to grow lines in Final Cut Pro.
A presenter on green screen with accompanying graphics. Sounds easy? In this new tutorial you can find out how to build one of the classic presentation layouts.
Merge, the FCP event, clip and project management tool is now bundled into Postlab. Combine XMLs to get data from multiple sources into one updated Library.
Adding captions to videos is a tedious process, let alone adding multiple languages! Oliver Peters takes a look at the online transcription & translation service Simon Says,
Today Apple has updated all the pro video and audio apps. Final Cut Pro updates 10.5, Motion to 5.5 and Compressor to 4.5. A few new features for FCP, but all will now run on Apple silicon! We list ALL the new features.
We are two weeks away from the FCPX Global Virtual Summit. On the Thursday, all Apple presentations will be streamed live from Apple Park.
Iain Anderson's new book on Final Cut Pro X has just been published. He tells us what's in it, who it's for and why he wrote it. There's also a link for a free chapter to download.
Apple has announced a special event next Tuesday entitled 'One More Thing'. Will we see a range of new silicon Macs? Will we see a new version of Final Cut Pro X?
It struck once more! The Blackmagic/FCPX 'gotcha' that I swore I'd never be caught by again. Why doesn't the selected output work with Final Cut Pro X?
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