 WOW! It's been a crazy summer so far and things are just starting to heat up! Apple, Adobe and Avid are creating so much excitement and news in the NLE world.
A couple of weeks later and FCPX continues to frustrate professional editors, while offering exciting new technology and performance to others. You can follow all of the FCPX articles, reviews and discussions from all over the internet on the Videoguys blog
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 pple’s launch of FCP X and the End of Life of the previous Final Cut Pro product line has created a situation where many people are unsure how to continue. If you were reliant on Final Cut Pro 7 or earlier for your work, where to now?
There’s no clear answer to this, so let’s work through the most obvious options.
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 A year ago – even six months ago – there was no sign of dissruptive change in the film and television post production industry. Obviously things were changing, the highest-end gear was starting to make it’s way to the lower tiers (Smoke for Mac, DaVinci Resolve) but all that was changing there was the accessibility of existing tools for a wider audience.
Then something happened. Actually that something was two things in one. Final Cut Pro X…
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 What a crazy second half we’re off to. Within our industry, we rarely if ever have seen the kind of furor that has been happening over the last several weeks. The blogosphere and twittersphere have been going crazy within our creative community. Recently, that’s been accentuated by Adobe’s unusual offer to encourage users of other editing platforms to adopt Adobe as part of their toolkit.
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 The new Fast Forward Video (FFV) sideKick HD is a versatile recording solution designed to ease production workflow and satisfy the demands of both producers and postproduction editors. The camera-mountable sideKick HD captures video directly from HD/SDI or HDMI outputs at bit rates up to 220 Mbit/s, with 4:2:2 sampling and 10-bit resolution in multiple codecs starting with ProRes on removable 2.5" SSD drives. Recording directly to high-quality NLE formats eliminates time-consuming transcoding,
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 This review is an attempt to assess Final Cut Pro X, what may now be the most written about nonlinear editing tool in the history of nonlinear editing tools. To some, this review may feel unfinished. In that respect it is very much like Final Cut Pro X itself. Writing a review of a piece of software that is clearly designed to do so much could go on forever. But I can't touch on everything here. Forgive me if I skip over certain features entirely (like FCPX’s color correct, actually a very nice
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 Avid today announced it is offering a limited-time Final Cut Pro Crossgrade promotion for qualified Final Cut Pro customers. Available now, this crossgrade offer is designed to provide a fast, cost-effective path for Final Cut Pro users to implement Avid’s award-winning professional editing solution—Media Composer®. With Media Composer, designed and built for Mac OS and Windows operating systems, customers can boost productivity and advance the storytelling process with capabilit
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 Industry blogs and Twitter feeds have been exploding over the past two weeks, as pro editors vent their frustration over features — mostly having to do with import/export functions and other collaborative workflow issues — that have gone missing from Final Cut Pro X, even as Final Cut Pro 7 has been deleted from the Apple catalog. Apple promises that various fixes are in the works, but some users have threatened to switch NLEs entirely rather than wait out the chaos. That means an opportunity fo
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 Step up to the toolset the pros use, Adobe® Premiere® Pro, part of Adobe Creative Suite® 5.5 Production Premium software. Get seamless integration with Adobe Photoshop® and After Effects®, and edit almost anything thanks to broad native tapeless and DSLR camera support.
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 Adobe Systems Incorporated (Nasdaq:ADBE) today announced an upgrade program for video professionals who have purchased any version of Apple® Final Cut Pro or Avid Media Composer and want to switch to industry-leading professional video tools by Adobe®—Creative Suite® CS5.5 Production Premium or Premiere® Pro CS5.5. These customers will be eligible for a 50 percent savings on Adobe Creative Suite CS5.5 Production Premium or Adobe Premiere Pro CS5.5, both launched in April 2011 at the National Ass
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 It’s now more than a week since the great FCP X “mad dash” began, and the dust is far from settled. Time, I believe, for a useful look at Final Cut Pro history, to see if there are lessons in the past that can help us understand where FCP X might be going.
I was around for the release of FCP 1.0 in 1999. I bought it a few weeks after the initial release at NAB that year and remember being pretty excited… at first.
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 With the release of Apple's Final Cut Pro X, Cupertino gave film editors something it regards as a pro-level tool. However, many editors disagree. They point to a list of apparently missing features, and now Apple's addressed the situation with an FAQ. But not all editors are satisfied, and a petition asking Apple to change its handling of editing software has collected thousands of signatures.
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 OSX 1.0. The $200 reduction in price for iPhone. iOS 3.0's buggy first release. The end of 99 cent songs. iTunes. App Store developer agreement changes. Antennagate. And now, Final Cut Pro X.
I could go and on and on about all the times people have suddenly boiled over in rage at Apple for the decisions they have made. It's actually kind of stunning to me the level of emotional vitriol that is leveled against Apple when they make a mistake,
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 Apple (at least in its 21st century incarnation) is not known for its stumbles. Even the handful of lackluster releases of the last decade -- Apple TV and MobileMe are oft-cited standouts -- can only be considered failures relative to the astronomical success of product lines such as iPod, iPhone, iPad and Mac.
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 Last Saturday afternoon, I and several other professional editors spent the day clustered around an iMac. We weren’t there to create the next great American film, or even for a juicy, double-golden-time-weekend gig of any sort. We were there to try and figure out if Final Cut Pro X was truly as bad as we, and seemingly everybody else, seemed to think it was.
We spent 30-45 minutes attempting to create a bin and put selected clips into it.
We never succeeded.
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