I review the key features of the update and conclude:
So where does this release leave Final Cut Pro X in the great panoply of professional editors? When first released, FCPX had serious deficits that simply prevented many producers from using the product. As many detractors crowed, it was more iMovie Pro than FCPX. If you produced multi-cam events, for example, FCP 10.0.0 was a non-starter, a trip back to the stone age of non-linear editing. Ditto for Red producers, and those who required XML interchange with other content creation programs.
For many producers, critical gaps still remain. For me, it’s custom DVD and Blu-ray authoring and broader input file support; for others, it’s shared network usage. Many others need tight integration with Photoshop and After Effects, the two tools that many professional editors can’t live without. Every editing situation is unique, and only that editor can say whether a particular product can meet their needs.
To Apple’s credit, it has continued to invest in professional-oriented features, like Red support, XML interchange, and many others. At this point, Final Cut Pro X has matured into an editor that can meet the needs of most single-seat streaming-oriented producers, and many others in many markets. For these producers, the NLE selection is now more a matter of preference. Just like the Premiere Pro vs. Final Cut Pro 7 debates that preceded FCPX, there will be plenty of proponents and arguments on both sides, and no clear winner among the Premiere Pro, Final Cut Pro, Avid, and Vegas crowd.
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