A new Workflow Extension for Final Cut Pro allows editors to preview, manage and set fonts without having to go through the dropdown list.
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.
When Final Cut Pro X was released back in June 2011, Apple said that there was a ten year road map in place for its development. Well, we are nearly at the end of that journey, so what about the next road map? What will the future bring to our favourite non-linear editor?
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.
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'.
Rookie ALERT! Having been blessed with the good fortune to be lent a MacBook Pro M1 laptop running Final Cut Pro, I was very excited to try it out.
We thought it wouldn't take long before updates were released to the Apple Silicon compatible Pro Apps. Final Cut Pro and Compressor get an extra feature and stability improvements. Big Sur and iMovie get some love too. We also have a new Apple Wsupport article on sharing.
It is one of the most asked questions on forums: "How do I get a film look?" Oliver Peters can answer that, he's put together his tips on how to emulate emulsion in an NLE.
To be accurate, it won four awards! Not the Oscars PR night Apple might have wanted, but a win is a win.
Join our live chat on Youtube! If you think it has been a bit quiet around here, you would be wrong. Today we announce the big news that two of FCPX's most respected community members, Sam Mestman and Ronny Courtens are joining FCP.co. Please watch our live chat above and read Sam Mestman's exciting news below.
It's quite simple. Stop what you are doing, make a large coffee and watch these two videos. Never before has Randy Ubillos, the creator of the original Final Cut Pro and FCPX, gone into so much detail about the history of NLE software development. We publish the two part recording of Randy's chat with Michael Horton at the recent LACPUG 18th birthday anniversary meeting.
Director Juanjo Giménez very kindly answered our questions about the post production of Oscar nominated live action short film Timecode. It was his first movie project on Final Cut Pro X and he was keen to try it out!
Brian Cassin goes in to great detail about how he efficiently edits a gameshow on FCPX. By using Final Cut Pro X and Lumberjack to pre-edit a season of High School Quiz Show, he saves hours, if not days of edit time.
Back in March 2016 I took a prototype Jellyfish portable started storage unit out on the road for a broadcast Final Cut Pro X edit. A few months later, I took a shipping model out on another high pressure, quick turnaround broadcast job. What’s new, what's changed and how did it perform?
Please welcome a new author to FCP.co, Nick Harauz. He's an experienced Apple Certified Trainer and his first article is a detailed tutorial about maximising the use of roles in Final Cut Pro X.
We love Final Cut Pro X user stories here on FCP.co, especially when they feature a specific workflow. In this article, Brian King runs through his process and techniques for editing a music video on FCPX.
It seems that the summer holiday period doesn't stop developers from releasing Final Cut Pro X plugins. Lots of them. Colour correcting, titles, lights and FCPX themes all feature in this roundup.
We are very pleased to bring you one of the best Final Cut Pro X plugin construction tutorials you will find online. We are yet to see the building of FCPX On Screen Controls documented in such a detailed manner. Fox Mahoney puts a lot of knowledge and experience into this article that needs to be bookmarked by all plugin builders, developers and advanced users. Plus he's very kindly uploaded the free HUD demo template!
It has been a while since we have done a tutorial roundup - we really should do them more often as more and more seem to be produced for FCPX. So here we go with a whole raft of interesting things to learn about Final Cut Pro X. Get a coffee first!
A really clever trick from Philip Hodgetts to use Automator to make life a little easier when switching video and audio at different times in Final Cut Pro X. Impressive.
Nobody is really surprised anymore to hear that yet another feature film has been edited on Final Cut Pro 10. But when Lance Bachelder posted a message saying he had used Final Cut on his latest production, he got my attention. Why? Because I knew that, although Lance has always had an open mind towards the new Final Cut Pro, he did not want to use it for his professional work. Until now...
Angry Birds and Final Cut Pro X. Two things we didn't expect to write in a headline! When it came to editing an Angry Birds commercial for Sydney's Luna Park, Tom Fossey from Rhino Post Production knew which NLE could quickly tame Red, Chuck and Bomb. (They have names?)
We have had Final Cut Pro X in under five minutes, now we have XinTwo which aims to break down learning FCPX into shorter bite-sized chunks.
Another entrant into the Final Cut Pro X plugin ecosystem this week is Leno Treinamentos from Brazil with his range of free and commercial FCPX plugins.
The Jellyfish and Final Cut Pro X go on the road for a real broadcast job. Cutting edge portable shared storage on a budget, but with all of the performance you need. How did it cope with the strain of continuous records and multiple edit clients? Peter Wiggins takes the new cnidarian for a mission critical swim.
How does Final Cut Pro X perform when it comes to editing a comedy web series? Michael Hadley from Screen D'Or Pictures tells us about his workflow on Knights of New Jersey and how FCPX was the best choice of NLE.
Getting rid of echo and reverb on audio has been an expensive post production option until now. This new $99 plugin from CrumplePop will clean up your audio in Final Cut Pro X and Adobe Premiere Pro.
We are back with a great user story. David Tillman describes his journey from being put off by FCPX from the initial scare stories to how he embraced Apple's new generation NLE cutting two high profile documentaries. A great read, we think his story will echo a lot of other editor's experiences.
Yes, the 3D text in Final Cut Pro X is amazing, but it is not a one-click solution to getting good looking text. We take a look at ten tips that should help to make your words on screen look good and avoid some common mistakes.
Back to a full week in the office and what could be better than four great Final Cut Pro X tutorials hot off YouTube. Thomas Grove Carter shows us his tips, tricks and shortcuts when he uses FCPX to edit an Audi commercial.
Over a year ago, an article was written in response to some very bad journalism and blogging about Final Cut Pro X. It never got published, but in the wake of a similar article surfacing last week, we thought we would dig it out. It was written in October 2014 and has been very slightly updated to reflect the new Apple hardware. Enjoy!
Possibly the best FCPX tip you see all week. We immediately got the credit card out and bought this very handy third party application that allows offline transcribing of interviews by creating markers & notes for Final Cut Pro X.
After three years of constant prodding from us here at FCP.co, Alex Gollner has finally launched his first pack of commercial plugins for FCPX. Packed full with 120 different effects, he's been busy!
We hope you have a large coffee ready this Monday morning as we are publishing all the videos from the recent FCP Exchange event in Los Angeles. Enjoy!
Ever lose an FCPX library somewhere on your hard drive? This week's MacBreak Studio will show you a trick to get them all organised. Plus we take a look at the first part of a tutorial on building superhero titles.
Loreak, the official Spanish submission in the best foreign language film category for the 2016 Oscars has already received many great reviews. The editor, Raul Lopez Romero tells us how the film was shot on a Red Epic at 5K, then ingested and edited with Final Cut Pro X running on a previous generation 2009 Mac Pro.
Victor Gusev from Moscow very kindly emailed in this quick tip for FCPX. How do you select a clip that is not on the main storyline without using a mouse?
The first FCPeXchange held at the weekend was a great success. Good speakers and a good turnout. Promoted by FCPWORKS and FCP.co, we thought we would publish a few pictures of the event.
On the day we all went Back to the Future (Part 2) Final Cut Pro X got functionality that many users have been requesting - shot number and file name overlays. No FCPX update, It took a third party plugin. Morph Cuts also came to FCPX, again via a third party developer.
We always like to feature newcomers to the FCPX ecosystem and this one looks cool and a lot of fun. A $49 plugin featuring a fully adjustable animating 3D model of an iPhone 6S in Final Cut Pro X.
One of the things we enjoy about running the site is receiving news or tutorials about things in Final Cut Pro X that we would never think about. This is one example, a very clever trick for making progressive footage appear interlaced in an interlaced timeline.
Two new tutorials from Ripple this week. We look at replacing an iPad screen with the TrackX plugin and creating alternate storylines in FCPX.
Just in: **Apple to present at the first FCP eXchange**
FCPWORKS and FCP.co are proud to announce the first in a set of workshops aimed at the Final Cut Pro X editor. The first one is in October in Los Angeles, so sign up now!
Time to catch up with the set of Ripple Training's tutorials. A lot to go through, from MacBreak Studios to FCPX in under 5 minutes. Plus the odd DaVinci Resolve tutorial for luck.
After 10 days we are back at the column coalface with news from CrumplePop. They have just released an automatic white balancing plugin called AutoBalance. It's on special offer too.
A bit later in the week, but that is down to us experimenting with Final Cut Pro X and DaVinci Resolve (11) more than anything. Time to catch up with the latest tutorials from Ripple, there's also a new paid tutorial on what's new in Resolve 12.
From the day of its release, Frame.io the cloud based review & collaboration platform has had great user reviews. It even got top billing on Apple's App Store page. Now there's a couple of updates that add more functionality and they've also published some interesting user numbers.
We have often looked at the animated globe maps in iMovie and wished they could have been included in FCPX. Thanks to a clever trick, you can have access to the maps and globes directly in Final Cut Pro X without having to re-render each one out as a movie.
Final Cut Pro X's speed and thus the benefits are gradually becoming recognised by editors in the industry. So on a new Retina MacBook Pro, how does Adobe's Premiere Pro match up to FCPX's performance, especially with 4K? Badly as Max Yuryev found out in his video. We are looking forward to the comments about this one!
Three new tutorials to watch from the Ripple stable this week. Adding bling to text, making your own HUDs in Motion and drawing your own curve in a transition in DaVinci Resolve 12
How do you know Final Cut Pro X is popular? When you have to move into a tent as you've grown out of the usual meeting room! The recent FCPX meeting in Buenos Aires hosted by Leonardo Hancevich (Leo Hans) was a huge success.
A quick tip to start the week off with. Did you know that you can add a list of keywords right into the Keyword Editor without having to click each field first?
A very handy application for batch exporting projects out of Final Cut Pro X in this week's MacBreak Studio. We also feature a tutorial on building timelapses in the first episode of a new FCPX podcast.
We are always on the lookout for different methods to control Final Cut Pro X as an alternative to our Magic Mouse with its Multi-Touch. These customisable controls from Palette are very different from the normal jog wheels and sliders on existing control surfaces.
The use of roles within Final Cut Pro X is a very flexible way to organise media on the timeline and structure the video and audio that can be exported out. The downside is that the setting of roles on multichannel audio clips isn't straightforward or quick if you have a lot to work your way through. Charlie Austin had the same frustration and developed the free app Role-O-Matic to do the hard work for you.
Three lots of Ripple tutorials this week as the FCP.co office had a bit of a holiday last week. (The truth is we were editing flat out!) Two MacBreak Studios and a five minuter from Steve Martin.
You might have caught Matt Smith's launch of his quirkily named free plugin earlier this week. 'DAWG PÜ' adds some 'dirty soul' to clinical video footage.
It's a few weeks on from the recent Final Cut Pro X Creative Summit in San Jose. Prompted by a few emails, we thought we would pass on our thoughts and memories of the event.
This week on MacBreak Studio the guys look at building 3D text in Final Cut Pro X that you can fly through.
Five extra DVDs have been released by the producers of Keanu Reeves' documentary SIDE BY SIDE. The film looks at the history, process and workflow of film production featuring interviews with directors such as James Cameron, Martin Scorsese and David Fincher. Walter Murch's extended interview features on one of the new discs where he talks about film editing and of course Final Cut Pro.
Ever wanted to add notes to clips in FCPX via dictation? For $29, FCPXTRA enables you to dictate your thoughts right into the notes field in Final Cut Pro X
Hot on the heels of the FCPX Creative Summit, the sixth Final Cut Pro X Virtual User Group took place on Monday. Here's the replay.
If FCPX's film moment was with Focus, then this article is surely the television equivalent. We learn how Copenhagen based Metronome Productions' staff of 200 produce 300 hours of broadcast television using Final Cut Pro X.
The awards keep on coming! This time San Diego based M2 Digital Post picked up three Emmy Awards for their spot for Wings-N-Things. One part of Final Cut Pro X made the post production easy!
Frame.io has just released a standalone application for Final Cut Pro X that allows editors to easily publish full timelines or clips to their web based viewing and approval service.
This week the team look at saving custom transform moves as effects in Final Cut Pro X and how to add some different effect treatments to titles.
'Best of the Bronx' won the category of Outstanding Community Service PSA campaign at the recent 58th New York Emmy Awards. Walter Garaicoa tells FCP.co how the spots were shot on DSLRs and edited using Final Cut Pro X.
Time to catch up with this week's tutorials from Ripple. The first looks at 3D text tips and includes one pretty awesome piece of information you won't want to miss. The second looks at the RGB parade scopes in Resolve.
On a rather quiet week on the post production front, Ripple Training has just released two FCPX tutorials to watch. Adjusting audio with new tools and selective colour correction in FCPX.
We love free tutorials for Final Cut Pro X and there seems to be more people making them every month. We take a look a the ones that caught our eye, make sure you have a large coffee ready!
It's not a Friday, but this set of free plugins from Coremelt couldn't wait. Want a free plugin to get timecode overlays on a clip in Final Cut Pro X? It is just a download away!
Many more companies are turning to video to help build their business. Jonathan Edwards understands that and uses Final Cut Pro X to make films that get brands exposed on websites & social media. If the images look familiar, that's because Sony picked up his work for for THFKDLF as the background for their media cloud services website.
We were very pleased to find an email from Vimeo this morning telling us they have published a range of editing tutorials. Even more pleased to find out 17 were dedicated to FCPX!
You can't say that Michael Horton doesn't have the best guests at the LACPUG meetings! In a recent meetup, Jan Kovac, the editor on the Hollywood feature Focus took part in a thirty minute Q&A session.
Well would you know, two days after suggesting Apple might publish an update to FCPX, they have just announced new versions, Final Cut Pro X 10.2.1 and Motion 5.2.1.
We all know about the workflow used on the feature film Focus. But what about the directors' next film that they are working on? Kevin Bailey gives an insight into how the Hollywood feature film Fun House is organising its footage in FCPX.
It is that time of year again. Post NAB, Marquis Broadcast is offering the chance to win one of 15 sets of third party software and training bundles for FCPX. All you have to do is answer a short survey.
XSAN is dead according to Sam Mestman. So how did they manage to replay 84 streams of 4K at the recent LACPUG meeting?
Two new tutorials from the Ripple barn, secondary colour correction in Final Cut Pro X and how to build animated titles in DaVinci Resolve.
Adam Scholes was given the task of editing a promo for the Canadian series Canada's Smartest Person. Although the show was cut on Avid, he turned to FCPX to get the job done. Here are the lessons he learned.
Sam Mestman presents Final Cut Pro 10.2 at the Los Angeles Creative Pro User Group. New features, third party plugins and of course, 3D text.
This week we have two tutorials on the great new 3D text that is available in Final Cut Pro X and Motion. The Ripple boys explain all.
Although April is the month full of NAB news, the plugin developers out there have still been pumping out products. We take a look a the new plugins for FCPX. There just might be a coupon code as well!
We all now know that FCPX can edit Hollywood feature films, but the tools it provides are there for every production, large or small. Holodad is a science fiction film made on a budget, but big on the special effects. It has also been made a Kickstarter Staff Pick.
We feature users stories on FCP.co that are small and large. This is a large one! Award winning adverting agency 72andSunny look after brands such as adidas, ESPN, Google, Starbucks and Samsung with Cantemo Portal and Final Cut Pro X.
The guys are back from the pre 10.2 radio silence with a new episode of MacBreak Studio. This week they look at 3D text in FCPX, plus we look at a cool way to create masks.
In case you hadn't heard about them or can't get to Las Vegas this year, FCPWORKS has been taping their Final Cut Pro X presentations. Just in is their keynote speech from Sam Mestman
There are two stories here, three new FCPX plugins including Light Sabres, Blaster Bolts and Star Wars style wipes and the fact that the plugin writers are aged 10 and 12!
We published yesterday that Final Cut Pro X 10.2 would accept Sony FS7 XAVC L files without the need for the Sony XDCAM plugin. We were right, but there is one essential piece of information you need to know and one large 4K sized problem.
Ripple Training has just published a new episode featuring Final Cut Pro 10.2, Motion 5.2, Compressor 4.2
Apple has released updates to Final Cut Pro X to version 10.2, Motion to version 5.2 and Compressor to version 4.2. A lot of new eye-candy, some much needed new features and some large speed gains. Their 15th update to FCPX is still free and available for download now.
Apple update Final Cut Pro X to 10.2, Motion to 5.2 and Compressor to 4.2
Normally a company that sells, well, a lot of light leaks, Light Leak Love has launched a pack of 12 instagram style filters for Final Cut Pro X. Called FiltrCutPro they are available for half price for today only, Friday the 10th of April 2015.
Two updates as we head towards NAB. CoreMelt has released a free update to SliceX and TrackX with new plugins and Digital Rebellion's Pro Maintenance Tools can now fix more FCPX Event & XML problems.
We have had many Final Cut Pro X user stories here on FCP.co across many genres, feature films, sport and episodic programming to name a few. One area we haven't covered is comedy, that is until now. Nuno Bernardo from beActive entertainment tells us how the TV3 documentary 'The Stand Ups' was cut on FCPX.
Did we ever think that we would write a headline that included naked swimming and Final Cut Pro X? No we didn't, but this story from Matt Holder gave us the ideal opportunity to do exactly that. Essential reading if you shoot and edit quick turnaround edits for social media. An FCPX user story au naturel!
From editing broadcast sports for transmission through to assembling your child's local league matches & sports, this $49 kit of Sports Graphics from Idustrial Revolution adds that professional look.
The new plugins keep on coming even though we are starting to enter NAB press release land, which tends to fill up our inbox to the top. A couple of interesting new plugins and a big speed bump to an old favourite.
So what is going on at NAB 2015 that is directly related to Final Cut Pro X? Sam Mestman tells us what FCPWORKS has organised for those rapidly approaching dates in Las Vegas. Lots of FCPX related presentations and a chance to meet up with Apple representatives!
Berlin based trainer and writer Gabriele Weßling has just published a €12-90 Ebook in German on Final Cut Pro X 10.1.4.
We have been accused of being Canon biased on FCP.co. Not so. It's just that there seems to be more people shooting video on Canons than Nikon DSLRs. So when we saw this video, we thought we would post it on the front page.
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