It's been an pretty packed year for FCPX and Apple news. We take a look back at the big stories of 2013, the great user profiles, the new products that were released, the trade shows and of course the year ending big software and hardware updates.
We kicked off the year with a raft of new plugins for FCPX, FxFactory, Reelpath, Nattress and Cineflare to name a few, all released products. Little did we know of the impending argument that was to follow.
PixelConduit was updated from Conduit to work in conjunction with FCPX. Another method for building plugins looked promising, but it failed to gain traction within the market.
We published some great user stories and tutorials. John Davidson from Magic Feather showed us in 'FCPX on air' how his company made trails using Final Cut Pro X running on shared storage. This is the first video from a series of 5, the methods of sharing might have changed since the 10.1 update.
Olivier Galliano was the assistant editor (and then main editor) on the French TV series 'Lazy Company'. Shot on two Red Scarlets in 4K, the job started on FCP7 and then transitioned over to FCPX. He described why they changed to FCPX and the workflow that they used. This was the first one of many broadcast user stories we featured over the year.
February was dominated by an argument. Plugin newbies Pixel Film Studios had been caught red handed by MotionVFX copying and publishing one of their products. Social media was red hot with their exchanges. Unfortunately, it wasn't the last time in the year we saw a company releasing FCPX products with a dubious heritage.
We saw a new app called Backups that made backups for FCPX, Coremelt upgraded SliceX so that mask points could be keyframed and Hamburg Media released the AS-11 Suite for exporting files from FCPX for broadcast delivery.
TouchEdit for the iPad looked cool with its skeuomorphic film strips and grease pencil, but it seems to have been overshadowed by the FCPX updates.
Peachpit finally got round to updating the Apple Pro Training Series: Final Cut Pro X book. Very important as this is the publication used when getting FCPX certified. No doubt, issue 3 won't be too far away.
Also a sad month as we said goodbye to the old Mac Pro as it failed to meet a new European standard and Active Storage pulled down the shutters on their business.
March got off to a start with Logan Kelsey showing us a beautifully shot and edited short film on Marty Knapp. Shot on a RED camera and mastered in ProRes 4444 at 4K, it showed how effortlessly such a project can be made on a MacBook Pro with FCPX. The video is only 1920 on Vimeo, maybe we can get Logan to upload again to YouTube at 4K.
New products came along for FCPX for asset and metadata management. The DAM Cantemo Portal fills the gap where Final Cut Server used to occupy (In depth article by Jonathan Eric Tyrell here) and Lumberjack from Intelligent Assistance brought real time logging on an iPad whilst filming
Arctic Whiteness released a a gesture based application called The Touch for controlling FCPX. Priced at €20 it gave instant control over the colour board and other FCPX operations by using swipes and gestures.
And of course we should not forget that on the 28th of March, Apple released FCP 10.0.8, Motion 5.0.7 and Compressor 4.0.7 along with the ProApps Quicktime codec update.
Most of April was dominated by NAB news and in Las Vegas, Blackmagic's two new cameras were the stars of the show.
Other new video hardware came from AJA, although we would have to wait later in the year for the Io 4K. We also visited Matrox to have a look a their new streaming box called Monarch and Motu for the Thunderbolt equipped HDX-SDI.
There were new plugins on display at the show. We really liked Technicolor's Color Assit which bought three wheel colour grading to FCPX. Unfortunately, Technicolor killed the plugin and made the team redundant later in the year.
In the Plugin Pavillion, Jim Tierney showed skin smoother Beauty Box and Roger Bolton from Coremelt was demonstrating the new planar tracking in SliceX. Elsewhere on the show floor, NewBlueFX demonstrated their plugins that now work in FCPX and Softron showed that a growing clip that was created with Movie Recorder can be played back with a 3 second lag in FCPX.
Back to the expanding list of great user stories on FCP.co and Mike Fernandes shared with us how Emmy winning show George to the Rescue gets cut on FCPX.
Larry Jordan gave us the 'heads up' about Unveil from Zynaptiq. This powerful audio plugin for FCPX can remove reverberation from voice. Coremelt released SliceX (powered by Mocha) for FCPX and also a couple of handy plugins should you shoot on cameras with flat picture profiles.
Nick Watson got in touch to tell us about 'The Man Who Shot beautiful Women' a documentary edited on FCPX that aired on the BBC.
Well what a month, it was the beginning of a lot of hardware and software speculation, but we started it off with some more user examples of FCPX in Action. Logan Kelsey sent us links to three more fabulous looking mini-docos shot on RED and edited in FCPX.
Then boom! The annual Worldwide Developers Conference (WWDC) kicked off with an amazing keynote speech. The big news being of course the Mac Pro was unveiled and it was also promised by the end of the year.
It was also announced that a new version of Final Cut Pro X (especially optimised for the Mac Pro) was to be released by the end of the year.
Plenty more Apple news in the Keynote, including the new operating system Mavericks. (Mac Pro sneak peek at about 53:30)
A star was born when a University Professor Erik Knudsen from Manchester in the UK, published entries about editing with FCPX on his video blog. Everybody liked his simple but thoughtful explanations and his blog is well worth following to see the progress of his film.
New plugin developer Lawn Road released two new plugins, Ripple travelled the world using Jumps and Rainer Standke launched an application called Marker that highlighted used and unused FCP7 & FCPX clips in the Finder.
July started off with a couple of user stories. Perry Childs from Pyrmont Productions told us about a real world Audi job cut on FCPX.
Followed by Chris McKechnie and his corporate video for Peragon shot on a 5K RED Epic.
Apple caught everybody off guard by releasing Logic Pro X. The new iPad controller made FCPX editors drool along with a spruced up interface and the ability to import and export XML to Final Cut Pro X.
Staying on the theme of controllers, the Kickstarter funded CTRL+Console app for the iPad made the App Store. It's a free download with in-app purchases for the FCPX and Adobe Premiere controllers.
There were new plugins from Tangent FX and SugarFX, A free Fisheye Fixer from Coremelt, logos galore from MotionVFX and new colour correcting plugins Hawaiki Color and Nattress Contrast. Red Giant also released BulletProof, a DIT and backup tool.
On the 30th, Apple released the small 10.0.9 update to Final Cut Pro. Mainly bugfixes and stability improvements, it was to be the last update before the 10.1 whopper in December.
The start of August wasn't great for Philip Johnston who showed us the great customer service he got when replacing a drive in his Pegasus R6 RAID.
Amanda Burns from Florida Atlantic University explained to FCP.co readers how they were using FCPX on multiple workstations connected to a SAN.
Ben Consoli did 'The best FCPX multicam demo I've ever seen' according to Philip Hodgetts who was in the audience at a Boston Creative Pro User Group meeting.
Atsushi Matsumoto posted three text tutorials for Final Cut Pro X, all especially for Japanese editors.
Our friends at Editors Keys got us very excited when they demonstrated editing with FCPX by hand gestures using the Leap Motion controller.
There was a lot of talk bout GPUs and FCPX. Oliver Holtkamp described rendering bugs with a Sapphire 7950 Mac Edition GPU and Andrew Smith showed us how he had turbocharged his renders by installing an NVIDIA GeForce GTX 680.
There were new plugins of course. SkinTone from CrumplePop, Steps from Ripple and Lower Pop from Stupid Raisins. Intelligent Assistance launched 'Producer's Best Friend' an application for exporting information about timelines and clips to an Excel spreadsheet.
September saw one of our articles get the highest readership since the site was launched.
FCPX in Bulgaria was publish on the eve of IBC, but its FCPX content made it essential reading for anybody in the post production business. Sam Mestman the author, certainly ruffled a few feathers in the film business.
At IBC itself, AJA announced the Io 4K with Thunderbolt 2, Blackmagic Design published the DaVinci Resolve 10 public beta, GoPro were showing their Studio 2 and Eyeheight demonstrated the plugin legaliser ComplianceSuiteFCPX. Lots of Thunderbolt peripherals on display as well.
Larry Jordan had teased us for a month by trailing his presentation with the question 'Is Final Cut Pro X ready for professional use?' Rather disappointingly, he used FCP.co as the main source of information to prove the point without actually mentioning us. If you have read through this 2013 review article, you'll find a lot of Larry's presentation VERY familiar.
The user stories kept on coming in. Noam Kroll from Creative Rebellion decided to shoot his Sundance entry 'Brother Sister' on a Blackmagic Cinema Camera in RAW and post produce in Final Cut Pro X and DaVinci Resolve. He took us through his workflow.
With the news that the Mac Pro would be 'rolled out' the end of the year along with a new version of FCPX, things started to quieten down across the ecosystem.
During the year, we had been publishing links to new free FCPX plugins. October had a bumper crop of free effects that we published on #freeeffectfidays. They will make a return in the new year.
One commercial product that was launched in October that proved to be very popular was LUT Utility from Color Grading Central. Costing just $29 it converts flat picture styles to the correct grade in FCPX.
We started publishing the popular The FCPX Man Diary. Although currently stalled, we have been told that it will return with new vigour in the new year.
The big news of the month however was the launch of the new Mac OS Mavericks. As anybody who tried to download it that night will tell you, it was a popular update from the off.
All the journalists missed the fact that a new Mac Pro was sitting after the presentation playing back 16 streams of 4K in a multicam clip.
UK production company Tech TV made the transition from Final Cut Pro 7 to FCPX. Head of Production Matt Smith described the reasons and benefits for switching and how FCPX has led to awards for their productions.
Andy Neil very kindly published a great series of tutorials on Motion and FCPX. His YouTube channel is well worth subscribing to.
Huibert van Egmond sent us details on how he operates Final Cut Pro X with the DJ remixing unit Traktor Kontrol X1.
Our article on 'The Four Types of FCPX People' proved to be very popular and it sparked off a big debate on social media.
December will be remembered for two big reasons, the new Mac Pro and the FCPX 10.1 update, but more of that later.
A new application from Norwegian developer Helge Tjelta called X-Wiper was released that deletes unwanted media so that FCPX projects and events can be archived.
We mustn't forget Kevin Abosch who was (or was it Tony Fadell) the guy who forked out nearly a million dollars for the special RED Mac Pro.
And then that day happened. Thursday the 19th of December. At 8:30 GMT Final Cut Pro 10.1 was released.
To be followed very shortly by the news that the new Mac Pros were shipping. We knew as we were one of the first to get one!
Since then we have published these articles:
The first 24 hours with Apple's new Mac Pro and Final Cut Pro 10.1 (With THAT video!)
So there you have a year in the life of Final Cut Pro X and FCP.co. All that remains is for us to wish all our readers a very happy New Year and to say thank you for all your support.