Macworld by Gary Adcock

The June 2011 release of Apple’s new Final Cut Pro X set off a firestorm that reverberated across the globe—at least in video circles. The hotly anticipated new version of Apple's flagship video software was unexpectedly accompanied by the immediate removal of the previous version—Final Cut Pro 7—along with the company's Final Cut Server and Final Cut Express apps, from retail distribution. That alone had longtime users jumping ship from the only nonlinear video editor many of them had ever used.

A new environment without connectivity to broadcast monitoring and networked storage, without the ability to assign audio outputs, and without the ability to open archives of previous FCP 7 projects, caused the industry to respond with shock and outrage. Apple’s competitors meanwhile, rejoiced in vitriolic glee at the prospect of gaining back years of market share they had lost as a result of the FCP’s dominance.

Then something astonishing happened: Cupertino backed down. Apple sent its product managers out into the editing community to reassure video pros that it and FCP X were indeed committed to supporting the product's working professional base, and that Apple would soon restore multicam editing, broadcast monitoring and output, the ability to assign audio tracks in a specific order, and the ability to import and export to and from their favorite third-party applications for audio, color correction, and finishing—as well as connect to Xsan or other networked storage volumes. read more...