digitalfilms by Oliver Peters

Just as the computer manufacturers discuss the post-PC world, I believe the film and video industry has entered the post-FCP world. For over a decade Apple has steadily gained NLE market share and set the standard with its Studio software configuration. In addition to the popularity of Final Cut Pro, DVD Studio Pro owned the DVD space for Mac-based authoring shops. The integration of Color launched new opportunities for entrepreneurial colorists. In spite of these gains, Apple tossed it all out and in June the industry changed.

The professional community of full-time film and TV editors and post facilities wanted a new software suite that expanded and enhanced the strengths of FCP 7 and the accompanying Studio bundle – not a completely new application that was Final Cut in name only. Regardless of whether you love or hate Final Cut Pro X, it’s hard to ignore the fact that it simply doesn’t fit into any established workflows. If you’ve structured your business around the Final Cut Studio ecosystem, then FCP X is a square peg in a round hole.

We all know that Apple is quick to abandon legacy technologies, but no one was prepared for a change quite this radical. Apple simply does not compete on features, yet that’s where a hypothetical FCP 8 would have headed. Had Apple actually done that, it no doubt would have kicked serious butt against Avid and Adobe, so the launch of FCP X is all the more puzzling to folks who rely on the “classic” version of FCP. In the name of innovation, Apple decided on a reboot as the way forward. One that included a completely different editing paradigm, which not only changed the way they decided editors should work, but also made it nearly impossible to integrate FCP X with anything else in the rest of the post world. read more...