At about this time in the year, we start to look forward to the NAB show in Las Vegas. It's slightly different this year. With the threat of being exposed to coronavirus, AJA is the first big company to say they are not attending.

If you've spent any time in Final Cut Pro X discussion forums, then you've probably run across posts by Tangier Clarke, a film editor based in Los Angeles. Clarke was an early convert to FCPX and recently handled the post-production finishing for the film, Jezebel. I was intrigued by the fact that Jezebel was picked up by Netflix, a streaming platform that has been driving many modern technical standards. This was a good springboard to chat with Clarke and see how FCPX fared as the editing tool of choice.

As Final Cut Pro X lets beginners cut high quality media from the moment they open the app, do they look at the software learning process any differently to established editors? Steve Bayes visits the recent Vlog University and Smartphone Studio Workshop to find out more. He also gives us some great FCPX editing tips.

The real growth in production today is not at Hollywood studios or the creation of new broadcast channels, it's online. Digital studio Kin publishes hundreds of videos yearly. With over 5M followers and 15 million monthly views, Final Cut Pro X is the NLE that's allowed them to achieve such a prolific output.

As FCPX users we are not used to subscriptions for creative software. Oliver Peters takes a look at the new $40 Pixelmator Pro and sizes it up as a candidate to replace the monthly billed Photoshop.

How can you speed up your edits? If you have  a lot of dialogue in your production, one way is to use transcription. Jake Carvey details his FCPX workflow on his recent Habitat for Humanity project.

We all know FCPX now has colour wheels and curves, but what about doing more advanced colour corrections? How about a plugin that can track masks, use ACES colour spaces and add film grain? Oliver Peters takes a look a the new Colour Finale 2.

Ronny Courtens was lucky enough to spend some time again with James Tonkin from Hangman Studios. James has had a new Mac Pro & Pro Display XDR in his studio for the last month and Ronny asked James about his experience working on real-life projects with the new machine.

We welcome FCPX stalwart Bill Davis to FCP.co. He tell us about his first week with the new 16 inch MacBook Pro. How did he migrate his data? What did he lose? Did he get any audio clicking?

Another superb Final Cut Pro X user story from Ronny Courtens. This time he talks to Chris Hocking from LateNite Films who post produced 'Neighbours - Erinsborough High' on FCPX. How did he convince the production team to use FCPX when the long-running original Neighbours is cut on Avid?

Many people asked why didn't we do more tests with the new 16" MacBook Pro on the launch day. We can now explain why, we found an annoying audio bug with Final Cut Pro X 10.4.7 and Catalina.

Today Apple has announced that the 15 inch MacBook Pro range has been replaced by the new 16 inch MacBook Pro. It gets a bigger screen, new keyboard, new sound system, better GPU and larger storage capacity. We take if for an early test drive with some 8K 60FPS ProRes RAW footage in HDR in FCPX!