Since Apple launched Final Cut Pro X last Tuesday, I’ve had more than 3,500 emails that range from “I’m enjoying FCP X and creating useful projects,” to “FCP X will destroy my ability to make a living.” (And, ah, far worse, I’m sad to say.)
When I first saw Final Cut X, I was excited by its potential, but warned Apple that this release would be intensely polarizing to the editing community. It does not give me pleasure to see that I was right.
Worse, Apple has alienated the very people who can make a very visible statement as to the inadequacy of the program. No clearer example can be found than the public ridicule of FCP X on the Conan O’Brien show.
Or, as David Pogue wrote in his New York Times blog: “…let me be clear on this point — I think Apple blew it.”
With the possible exception of the launch of MobileMe, I can’t think of an Apple product launch which has spun more wildly out of control than this one. Apple did not just blow this launch, they went out of their way to alienate their key customer base.
Which is a shame, because FCP X has such great potential — but now, Apple has to concentrate on damage control, rather than getting people excited about the new program.
After the launch, Apple compounded their problems with three extremely poorly timed moves:
1. Canceling Final Cut Studio (3) and pulling all existing product from the market. This is devastating to shops that can’t use Final Cut Pro X. The two applications can co-exist on the same system — killing FCP 7 will not boost sales of FCP X to those shops that can’t run it. All it does is set up a black market for FCP 7.
2. Not providing – then publicly stating (thru David Pogue’s New York Times blog) that they do not plan to provide – a conversion utility from FCP 7 to FCP X. Not only does this render a HUGE number of past projects inaccessible, it sets up the obvious conclusion that if Apple is willing to discontinue support for legacy applications with no warning, what’s to prevent them from doing so again in the future? Every time you watch a movie that is more than 6 months old, you are dealing with legacy assets. Not providing a conversion utility is completely inexcusable.
3. Leaving the support for interchange formats – XML, EDL, OMF and others – to third-parties; or not supporting them at all. Yes, the video and film industry needs to move into the current century. However, Hollywood is very reluctant to change what works. Meeting deadlines is far more important than adopting new technology. Apple’s walled garden approach is totally at odds with the nature of post-production, where the editing system is the hub around which a wide variety of other applications revolve. On any editing project I routinely run 5-10 other programs simultaneously — only three of which are from Apple. I am constantly moving data between programs. This, combined with a lack of support for network-based storage, highlight grave development decisions in determining what features to include in the program.
NOTE: Apple told Pogue that they are working on providing the specs for their XML API. This is essential for any third-party developer to access conversion “hooks” in the program. David didn’t report that they mentioned when this would be available, however.
When I was talking with Apple prior to the launch, they told me that they extensively researched the market to determine what needed to be in the new program. In retrospect, I wonder what people they were talking with.
As I was working with the program, developing my FCP X training series, I often felt that the program was developed for two different audiences. Some features, effects for instance, are clearly geared for the iMovie crowd, while others, like trimming or 4K support, are geared for pros. The program sometimes felt like it wasn’t sure what it wanted to be when it grew up.
In FCP X, Apple got some things amazingly right. But they also got key features amazingly wrong. And if they don’t change course, this software, which has significant potential, is going to spin further and further out of control. At which point, its feature set is irrelevant, its reputation will be set. We’ll be looking at another Mac Cube.
Apple does not normally ever comment on future products – though they did this year, prior to WWDC, because they needed to reset expectations. Because of the visibility of this product into an audience that can cause extensive PR damage to Apple, I suggest that Apple break its usual vow of silence and do three things:
1. Immediately return Final Cut Studio (3) to the market. If it is not compatible with Lion (and I don’t know whether it is or not) label it so. But put it back on store shelves so consumers have the ability to work with the existing version until FCP X is ready for prime time.
2. Fund the development of a conversion utility – either at Apple or thru a 3rd-party – and announce the development with a tentative release date.
3. Publicly announce a road-map for FCP X that just covers the next 3-4 months. Apple needs to be in damage control mode and the best way to defuse the situation is to communicate. Answering the question: “What features will Apple add to FCP X, and when?” will go a long way to calming people down.
I have written in my earlier blog (read it here) that FCP X has a lot of potential, and, for some, it meets their needs very nicely. I still believe that.
I was also pleased to provide training on FCP X so that new and existing users can get up to speed on it quickly.
I don’t mind helping a product develop into its full potential. I enjoy providing feedback and helping people to learn new software. I don’t even mind that FCP X is missing some features; this is to be expected in any new software.
But I mind a great deal being forced to adopt a product because other options are removed, forced to lose access to my legacy projects, and forced to work in the dark concerning when critically needed features will be forthcoming.
This launch has been compared to Coca-Cola launching New Coke – resulting in a humiliating loss of market share.
With Final Cut Pro X, however, the situation is worse — with New Coke, only our ability to sip soda was affected. With Final Cut Pro X, we are talking losing livelihoods.
Let me know what you think,
Larry
253 Responses to Apple's Challenges
← Older Comments Newer Comments →-
Terry says:
June 28, 2011 at 3:33 am
-
Serena Herr says:
June 28, 2011 at 3:49 am
-
nicolas says:
June 28, 2011 at 5:07 am
-
DavidH says:
June 28, 2011 at 5:21 am
-
Alex Gollner says:
June 28, 2011 at 6:13 am
-
DavidH says:
June 28, 2011 at 7:01 am
-
Jonathan Ball says:
June 28, 2011 at 8:33 am
-
Simon says:
June 28, 2011 at 8:56 am
-
Galen Y says:
June 28, 2011 at 9:32 am
-
Gregory Wilson says:
June 28, 2011 at 9:50 am
← Older Comments Newer Comments →When Apple first released Final Cut Pro, they did not create it for the Hollywood Professional, they created it for the freelance videographer. It was not until Apple realized they had a user base in Hollywood, that they marketed its potential to the entertainment industry. It worked even better then for the original target market, the independent content producer. Showing that for a reasonable cost, you can now edit like the Hollywood pros for far less than an AVID system, that help build the recent boom in the independent film industry.
I have been editing with Final Cut Pro since version 1. I was a convert from Adobe Premiere – such a horrible app at the time as far as memory management, just the render times made me want to run away from it. When Final Cut Pro came out I and some of my fellow colleagues took to it immediately. I loved it. It was such a great app, and since I have never felt so excited about a Final Cut Pro release until I saw the presentation at the LV Supermeet for Final Cut Pro X. I thought to myself – finally something radically new and ingenious! Up until now, Apple has just built and built on the original mold of the application, and it is a rock-solid application. But times are changing and we editors must change with it or we are out of a job.
Do you hear anyone telling Adobe to recall previous versions of their product suite, which has drastically changed over previous versions. Many Graphic Designers who make a living using the Design apps from Adobe think they are upgrading to fast at times, but they keep at it, learn the new, and stay in the game.
Another factor is and very few have addressed it, is that Apple probably felt pushed into the corner with this release with Lion coming up. Check out this posting from one of the first FCP evangelists and editors, Josh Mellicker of DVCreators.net, hope some of you remember this company, they pretty much created the 1st FCP community which eventually led to the start of LAFCPUG. He like most of you felt the same but has his doubts now.
Original Post:
http://www.dvcreators.net/what-does-the-guy-who-led-the-original-final-cut-pro-revolution-think-of-the-final-cut-pro-x-release/
Follow-up Post and Rethinking of What Apple may have had to do to avoid more of mess than this has turned out to be:
Titled: A fellow named Elliot may have figured out the real story behind the Apple Final Cut Pro X release
http://www.dvcreators.net/a-fellow-named-elliot-may-have-figured-out-the-real-story-behind-the-apple-final-cut-pro-x-release/
Please read both of these posts and give it all another thought – this time, try to be a little more open-minded.
Take care all.
Terry S, you have to be kidding. It’s not that pros are “uncomfortable” with how the workflow has been changed, it’s that absolutely no workflow has been proposed to replace it. Apple has no solution for getting projects out of FCPX and to a mixing facility or a DI facility or a color facility. A $500 duck plug-in is not a “huge splash of water,” it’s a broken solution.
Please try to understand: you cannot use this tool unless you are a single-shop editor who does everything inhouse, don’t mix your audio, don’t professionally color-grade, don’t check your colorspace or interlacing on an external display, and don’t edit multicam footage. That rules out about 70 percent of the pros, and 100 percent of broadcast, film, and high-end corporate.
And while your blind faith in Apple is touching, let me be the first to assure you that DVD-SP, Color, and Soundtrack Pro are gone for good. At least they kept most of STP’s great filters and some of Color’s best looks, and improved the color-matching and correction features. That’s all she wrote in terms of salvage–those apps are on the scrapheap. RIP.
To calm things down, Steve Jobs could say :
(1) we still do believe that FCP-X is the future of editing
(2) however we admit pros are still asking for features that should have been delivered. (multicams, output to tape, back projects compatibility etc etc)
(3) We’re working hard on bringing these features back into FCP-X
(4) the pros won’t be left behind : FCP-7 will be followed by FCP-8 and FCP-9 versions (that’s why we jumped from 7 to 10 by the way, to leave a gap and room for these enhancements 🙂
(5) Professionnal editors will then have plenty of time to keep working on their “FCP” versions until they feel they’re ready to make the move to FCP-“X” which, in the meantime, will not only be ready to meet all their needs, but will have been improved too, as Final Cut Pro X 1.0 is the beginning of a road, not the end.” (Randy Ubillos’ words)
One of the problems in this forum is that many commenters do not have a good collective memory of how Final Cut Pro has been marketed and promoted to “professional editors”.
The unalterable fact is that Apple worked night and day to become credible as a POWERFUL INDUSTRY editing SOLUTION.
The whole mantra for Final Cut Pro was essentially “not your Father’s editing software”. Final Cut Pro was designed SPECIFICALLY and intentionally to woo all you “high end users”. They constantly trumpeted all the professional users who had SWITCHED to Final Cut Pro because of its “professional power” and Apple solicited testimonials from all the shakers and movers who used Final Cut Pro INSTEAD OF other applications.
Here, for those of you who do not know the recent Marketing direction of Apple for Final Cut Pro– the “good old days circa June 19, 2011”
If you Google “coen brothers final cut” you will see a page with this address “http://www.apple.com/finalcutstudio/in-action/”
Look it up and then click to TEXT cache to get the following text view
if you allow it to load you will see the old marketing for Final Cut Pro as recently as JUNE 19, 2011–some 9 days ago
However, the present page today and all of the testimony links now go to the Motion 5 page. Will Apple ever have a similar page again with testimonies from the Coen Brothers, Francis Ford Coppola and Walter Murch, and 20th Century Fox on how Final Cut Pro X meets all their needs?
This is Google’s cache of http://www.apple.com/finalcutstudio/in-action/. It is a snapshot of the page as it appeared on 19 Jun 2011 23:13:50 GMT. The current page could have changed in the meantime. Learn more.
Final Cut Studio
• What’s New
• What Is Final Cut Studio
• In Action
• Resources
• Tech Specs
• Buy Final Cut Studio
In Action: True Grit
For their new Western adventure film, True Grit, the Coen brothers cut to the chase with Final Cut Pro.
Read Article
Rooster Cogburn (Jeff Bridges) and Mattie Ross (Hailee Steinfeld) in True Grit. © 2010 Paramount Pictures. All rights reserved.
In Action: Eat Pray Love
Editor Bradley Buecker describes how he cut his first feature film — and 70 hours of footage — using Final Cut Pro.
Read Article
In Action: Crafting Tetro
Legendary filmmakers Francis Ford Coppola and Walter Murch discuss their latest picture, edited in Final Cut Pro.
Watch Video
In Action: Leverage
Electric Entertainment uses an innovative digital cinema workflow for producing their prime-time television series — with the new Final Cut Studio at the center.
Watch Video
•
• 1
• 2
• 3
• 4
Videos
“Cold Mountain” courtesy of Miramax Film Corp. All Rights Reserved.
“Jarhead” courtesy of Universal Studios Licensing LLLP
Watch again>
Leverage
Electric Entertainment uses a digital cinema workflow for their prime-time TV series — with the new Final Cut Studio at the center. Watch now
Leverage
Electric Entertainment uses an innovative digital cinema workflow for producing their prime-time television series — with the new Final Cut Studio at the center.
Watch again>
Euro RSCG
Euro RSCG uses Color to achieve a striking new look for Jaguar’s worldwide ad campaign. Watch now
Euro RSCG
Euro RSCG uses Color to achieve a striking new look for Jaguar’s worldwide ad campaign.
Watch again>
Everybody Hates Chris
Chris Rock’s hit television series brings comedy to HD with an all-digital workflow based on Final Cut Pro and Color. Watch now
Everybody Hates Chris
Chris Rock’s hit television series brings comedy to HD with an all-digital workflow based on Final Cut Pro and Color.
Catch the new season Fridays on the CW, 8pm/7pm Central.
Watch again>
20th Century Fox
20th Century Fox is implementing an entirely new post-production workflow for feature films, using HD video. Watch now
20th Century Fox
20th Century Fox is implementing an all-digital post-production workflow with HD video at the center. This lets them bring more creative control into the editing room and add quality earlier in the production process.
Watch again>
@radical.media
By automating the production pipeline, a media company seamlessly connects team members all over the world. Watch now
@radical.media
@radical.media
@radical.media is a media company that produces feature films, television programs, and commercials. For a recent project, they used technology to coordinate teams in China, New York, and Los Angeles — without skipping a beat.
Watch again>
Full Sail University
Full Sail University is training the next generation of filmmakers on the same tools they’ll use after graduation. Watch now
Full Sail University
Full Sail University
Students at Full Sail University pursue a passion for working in the film and video industry. They gain a competitive edge by learning to use the same tools they’re expected to use in the professional world.
Watch again>
Coen Brothers
The Coen brothers discuss the importance of color grading in creating the distinctive look of their films. Watch now
Coen Brothers
Coen Brothers
For Joel and Ethan Coen, color grading is a creative tool — like music — that helps them shape the character of a film. Digital color grading allows them to begin adjusting color with the very first shots.
Watch again>
BBC
The BBC continues to lead the digital production revolution by moving to a fully tapeless “creative desktop.” Watch now
BBC
BBC
The BBC is at the forefront of the digital production revolution. As these visionaries move to a fully tapeless infrastructure, they are implementing a “creative desktop” that lets them put the focus on talent, not technology.
Watch again>
Miranda July
An independent filmmaker edits a feature film with complete freedom to experiment as she works. Watch now
Miranda July
Miranda July
Independent filmmaker Miranda July is able to express her creativity in the edit room without being hindered by the technical process. The freedom to experiment allows her to shape her story as she works.
Watch again>
Articles
True Grit
The Coen brothers negotiate tight turns in post with a custom Final Cut workflow. Read more
Eat Pray Love
The best-selling memoir goes from page to screen via Final Cut Pro. Read more
(500) Days of Summer
First-time director Marc Webb and editor Alan Bell on editing with Final Cut Pro. Read more
Cronkite School of Journalism
In this school’s video-forward curriculum, editing in Final Cut is a required course. Read more
Benjamin Button
Director David Fincher delivers his biggest film yet using Final Cut Studio. Read more
Electric Entertainment
Producing TV heist series “Leverage” is an inside job with Final Cut Studio. Read more
Ballast
Sundance 2008 “Best Director” Lance Hammer goes Mac-to-market with Final Cut Pro. Read More
AKQA
The global interactive ad agency makes content king, courtesy of Final Cut. Read More
Traitor
Editor Billy Fox cuts a clean line through the complex plot of Traitor. Read More
X-Files: I Want to Believe
Film editor Richard Harris cuts to the Truth on Final Cut Studio. Read More
Live from Abbey Road
The legendary London recording studio uses Final Cut Studio to bring music to the masses. Read More
See All Articles
• Final Cut Server 1.5 Faster searches. Robust proxy workflow.
• Final Cut Express 4 Move into advanced video editing.
• Final Cut in Action See production visionaries at work.
• The new Final Cut Studio Buy Now
◦ Visit an Apple Retail Store.
◦ Find your local authorized reseller.
Apple have told developers that the only cause of interference between FCP 7 and X is because of the name and location of the FCS 3 apps:
> When you install the new apps from the app store, the older apps
> are moved to a different folder. Unfortunately, this breaks a few
> customer workflows with the older apps, particularly with
> Final Cut Server.
>
> It’s possible that your development process doesn’t require these
> particular workflows, and you could have both versions on the same
> partition without issue. We don’t recommend that customers do this,
> since we can’t guarantee that all of the features in the older studio
> will continue to work if the older apps are moved.
For those who do not remember the way Apple marketed Final Cut Pro to professionals go look quickly at these two Apple web pages promoting Final Cut Pro where the Coen Brothers especially talk about the necessity of the Final Cut Pro EDL WORKFLOW…
Apple marketing goes into some depth about how a complicated movie project can be packaged up and brought into another Mac for more work.
“At the end of each day they transfer the project file and additional media — for instance, sound effects or music — onto a FireWire hard drive. Here, an assistant prepares the sequence for sound supervisors and creates a film cut list through a Cinema Tools plug-in for Final Cut Pro. The cut list automatically matches each edit on the Final Cut timeline to the original frame of film.”
For those of you commenters who still do not GET what all the fuss is about, why some editors are feeling betrayed for believing in Apple’s continued vision for a professional and sophisticated application for this particular crowd of high end users …..
http://www.apple.com/pro/profiles/coen/
http://www.apple.com/pro/profiles/coen/index2.html
When Apple realizes these pages are still on their server they will be erased
Xserve_RAID
XServe
Shake
Final Cut Server
Final Cut Pro (the good one)
Color (my favourite app)
DVD Studio Pro
Live Type
I’m sure there are others but you can see the pattern. I don’t care what they do to FCPX, I can’t trust my business to an iCompany. I am moving with much reluctance to another platform (yet to be decided) that I can trust to still support me years from now. Still, I do like my iphone and iPad and imagine they will be around for a while, not to mention the cash I’ll save by not having to buy Mac Pro’s (although I reckon they’ll go next).
It confused me that Apple jumped from Final Cut Pro 7 to Final Cut Pro 10 … (yes, the X is pronounced 10) … but here’s a conspiracy theory for you all … does this mean Apple has a Final Cut Pro 8 and 9 up its sleeve? Perhaps Final Cut Pro 8 will be the true successor to Final Cut Pro 7. It does feel like they skipped a few updates with the new FCPX.
They could introduce the rolling shutter fix, the auto syncing of audio to video from DSLRs, the keywords on clips and many of the other new features, whilst still retaining EDLs, Batch Capture from tape, and the opening of old FCP7 projects.
Here’s hoping to Final Cut Pro 8!!!
Larry
Good points. Everyone who’s with FCP as it was has good points. The problem stems from the fact that Apple does not rely on FCP as their sole source of income. Which is what makes Avid and Adobe different – their editing / compositing solutions are at the heart of their business. Apple is only human – and they’re not going to sweat this. Thankfully we have both Avids and FCP – and now maybe Premiere….
Larry,
I appreciate your review and ‘Call to Action’, the FCP community needs to have it’s voice heard and I’m glad you are looking at this situation with a similar perspective to people who use this software to make a living.
I completely agree that FCP7 should be reintroduced to the market, I would even suspect that product would see a surge in sales (higher price sales too) for the next 4 months. A lot of people have FCP 6 and TB of project data that just cannot be thrown away because Steve Jobs doesn’t completely understand a Video Editor or Multimedia Producer.
I had wanted to upgrade our office’s 4 FCP 6 Licenses to FCP7 while FCPX had the bugs worked out and I was shocked to learn that it was no longer available, especially with the lack of FCP7, XML, OMH, import / export features.