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 →-
Taylor says:
June 27, 2011 at 12:06 am
-
Jeff says:
June 27, 2011 at 12:17 am
-
Ray says:
June 27, 2011 at 12:40 am
-
Nayeli says:
June 27, 2011 at 2:02 am
-
Michael De Lazzer says:
June 27, 2011 at 2:09 am
-
Steve Hullfish says:
June 27, 2011 at 2:40 am
-
DavidH says:
June 27, 2011 at 3:20 am
-
James says:
June 27, 2011 at 3:23 am
-
Mark M says:
June 27, 2011 at 3:23 am
-
Tom Olsen says:
June 27, 2011 at 3:46 am
← Older Comments Newer Comments →Great observations Larry. I too was in the FCP trenches early, on the very first beta. I started cutting on a flatbed, and slowly moved through all of the linear then non-linear systems including AVID and Smoke.
When I saw the NAB demo’s of FCPX I was stoked, and it looked awesome from a distance.
But after spending the last 4 frustrating days with it, to cut a test project. I basically gave up. There were just to many important things missing. time code cue, no dual monitors, no change of timecode start time….I could go on.
I understand this is a rev 1. But killing FCP 7 from the Apple store, and all the other tools (Color, DVD Studio) I just think Apple is going the consumer route. Period.
I am adaptable and will work on FCP 7 and CS5.5 until Apple treats professionals with the same respect that AVID and Adobe have show to the upper tier of post.
Thanks for you objective writing on this very touchy feely subject of post.
Chaba Gryphon “Uhmmm… guys…. Apple AGAIN removed ALL reviews off of the App Store for XFCP. And ONLY for XFCP. All other app reviews are intact. And FYI, it’s now sitting at 8th place on the Top Chart.”
This is Orwellian … the irony is a bit hard to fathom from a company like Apple.
They seem to be making bad decision after bad decision.
I am one of those users who’s in a bit of pickle.
I was using FCE and after a two multicam sessions and more on the horizon I did not want to go through that ordeal of editing through 4 different tracks anymore. I saw FCP X would be released and I thought: “Well lets wait on that then I have the multicam I need and the price is great and when its not to my liking I can always buy FCS”. *rumours from some of my pro-friends were already daunting but as a software engineer I explained them that Apple would not release a car without wipers and blinkers — boy was I wrong!
So low and behold, FCP X was far from usable so I wanted to purchase FCS online only to find out that Apple had pulled it from the market.
This week I played around with Adobe Premiere but they only support 4 cameras and we are planning to move to 8 by next year. So I tend to lean more towards FCS and probably FCPX in about 1 year certain things in FCP X are truly really good. If Apple were only to tell when multicam would be added to FCP X I could manage on that.
Personally I think that for me hanging between the boat and the shore right now the only place to go is Adobe.
I wasn’t expecting this from you after previous posts… glad to know you too have a problem with how all this has been handled, and you identify the key points very eloquently. How different would this have been if they released this as the new version of Final Cut Express, saying, hey, check this out… this is the simple version of a revolutionary new product, wait to see how we expand it? I think the most confusing thing of all is the HUGE deal they made at NAB, with NO mention of how bare bones the app was going to be at launch. No matter what Apple’s ultimate goal is, it’s hard not to feel misled just by that! The silence is the worst of all…we’re stuck between thinking they’re going to develop this into the next best thing after sliced bread, to thinking this is the end of the road for a good amount of post workflows developed over the years with Final Cut.
@Josh: Thanks for mentioning Cinema Tools and film workflows. I suppose of the “pro” users we’re in the minority (using Final Cut for offline cuts of 35mm films), so it doesn’t get mentioned that much. Maybe film is on the way out (ouch), but it’s sad we won’t be able to use Final Cut for this any more. I’m pretty sure no matter what gets “restored” to Final Cut X, Cinema Tools is not going to be one of the things. And that is unfortunate, because even on films where we’ve captured direct to file instead of using DVCAM (so that no reverse TK was necessary), Cinema Tools was very useful for keeping a database with keycode and outputting cut lists for the negative scan or negative cutter.
There are a million things that need to be revolutionized about the whole film post process, but pure elimination of ANY route without a new solution is not the answer. XML, OMFs, EDLs… if those get restored as third-party plugs, that just does not seem ideal at all. Whenever you can get it all in one program it’s a huge bonus. Not to say that there aren’t already some great 3rd party tools out there that work with Final Cut 7, but it’s a constant “keep things up to date and balanced” struggle.
I doubt Apple changing the game is going to get the whole film post dinosaur to follow suit, especially when no real alternative solution has been created, and considering how much money is invested in the status quo. We finally were seeing support in DI programs and labs for Final Cut XML (though for many reasons the clunky, imperfect, but simple CMX3600 is still so prevalent)… now what? We’ll just have to switch to Avid for a few years, I guess.
I don’t like the Coke analogy because Coke was the company’s biggest product. Final Cut is still a relatively small community, even if you only incorporate the entertainment industry, and certainly it’s a niche product for Apple.
Apple forgot to attach the label “BETA” to the download. They certainly will fix what is wrong with the product. I know a few of the folks on the team, and they’re pretty bright. Putting a “beta” label on the release would have allowed for some wiggle room.
The missteps are plentiful– beginning in media management. Adopting the Avid ingest everything approach takes away one of Final Cuts best advantages over Media Composer: You put your files where you want and organize them any way you wish. Tremendously powerful.
One timeline per project. This must get fixed. Certainly someone must consider the amount of changes a project endures through its course. Not to mention the varying delivery requirements– send version A to the board– send version B to the donors– etc. Having a separate project for each version is crazy.
Tape isn’t going anywhere. Not just from an acquisition view– but how about archival? No one is going to capture all of their archival footage. Way too much legacy stuff. Documentarians must be miserable.
The yellow handled browser– It’s not really all that different from the scrubbing bar- but it looks like a toy. But I need a real viewer somewhere.
I’m having a lot of, “Wait– where did this go? — Oh it’s over there” moments. I’ve yet to find a graphical keyframe editor. You’ve got to be able to lasso and drag keyframes.
Support for old projects– this MUST be one of the first fixes. Why even call it Final Cut?
If I were Avid– I’d be readying a promotional campaign to get people to switch. Throw in a steep discount like they did last month for switchers. Apple has hung a slow curveball, right over the plate. Avid needs to swing for the fences, and not let this pitch sail by.
The reason most early adopters came to FCP was because Avid’s Media Composer was $25,000 to get into at the time. FCP was a viable alternative. Value has always been a selling point.
I trust revisions will come fast and furious, they have to if Apple wants to hold their user base. At the same time– there’s a lot to like with the new software– but they need to finish the job.
Bingo Larry.
I was starting to wonder how much of a shill you were for Apple. My faith in your credibility is completely vindicated. And I don’t just say that because I agree with your direction. I say it because you are stating the same disappointment that so many, many pros are feeling. “Professional” is used as a catch-all phrase, but there are many types, doing many different jobs with many different requirements. Very, very few of us will be able to use FCP X any time soon. FCP 7 is still there, but for how long? Thank you for an insightful, passionate and well-written post.
Marcus Moore wrote ” I agree wholeheartedly, Larry. Apple’s main misstep here was not so much the program, but communicating what the program is and where it’s going. ”
Larry, I read a different article, then.
I believe that in your heart of hearts you do NOT believe that Apple’s MAIN misstep was simply mis-communicating what the next generation of FCP “Pro” was going to be.
Surely, surely, Apple’s FIRST and most outrageous mistake was to set out the wrong project goals from the start and to put the wrong people in charge of this project.
Secondly, they evidently made a strategic mistake in perhaps thinking they were saving money by merging the iMovie team with whoever had worked on Final Cut Pro and was still on campus but shifted to iPad development.
Thirdly, when they sat down in development meetings they kept opening up iMovie as the more “user friendly” paradigm.
How can we upgrade iMovie was the constant question? and Goal.
When Steve Jobs dropped in from time to time to check on how things were going they did their demos in an iMovie interface and Steve said, “Looks great. I LIKE it!”
Well, there you go. Marching orders from the big guy who writes the paychecks.
All of the engineering and interface checks were done by guys who knew iMovie and thought it was swell.
They trusted so completely their own vision of iMovie for the masses being, obviously, THE video tool of the future.
Testing continued at Cupertino as they spilled free yoghurt on themselves while putting this revolutionary software through its paces. The whole Final Cut Pro X team were so giddy imagining the kudos they would receive when Steve Jobs stood in front of the world’s media and proudly held up an iPad mobile device and dramatically pressed the Final Cut Pro X icon.
“Today marks the beginning of a new era in iCloud based entertainment,” exults Steve Jobs.
Professional Editors’ jaws drop.
“We should have seen it coming….”
Conan’s not the only one:
http://www.youtube.com/watch?v=SgXUh1HrYOw
Larry,
Thanks for speaking up for so many of us.
I’m not giving up on Final Cut, even though the offer I keep getting from Avid keeps looking better and better: $999 for MC.
I’m determined to try to figure out the workarounds I need to try to make it work. I work at a broadcast station with a daily show. I concede that we’re getting past the need to archive our work to tape, but we absolutely need to save our work with 4 stem tracks. (Narration & Dialogue/BG sound/Music L/Music R) Not sure how to do this with only the stereo output of FCP X.
Maybe you can help.
FCP 7 will even let me direct the output of my tracks to the four audio channels of our Sony HDCAM deck. It took us some time to find it. It’s a little-known right-click contextual menu, but they made provision for it and it’s there.
I think I can tag different audio elements “Narr”, “Music”, “BG”, filter them in the timeline index, select them in the timeline index so they are all selected in the timeline, and enable them one group at a time. This way I can export the audio 3 different times to get my stem tracks.
This is supposed to make my editing workflow better?
There are so many tricks I use that won’t exist anymore.
I’m not giving up yet.
We must get them to put Studio 3 back on the shelves until they get their crap straight.
–> Mark
We all should have known when Apple stopped having a huge booth at NAB that they were getting tired of us “professionals”. Yes I know they don’t do any trade shows, including MacWorld (how long til they stop making Macs?), but for all the work they put into trying to kill Avid and Adobe, they seem to have no taste for it now. 11 years ago Apple was just starting to come back from the abyss-back when the stock was trading at about $14 a share-and they wanted to capture the pro post market for the prestige. Now they make billions selling iPhones, iPods, iPads and iTunes- they have no need for the pro post market where they make mere millions and have to put up with picky customers demanding support, and upgrades like rewriting the software for 64 bit. No Apple knows exactly what it is doing, they just dont have the guts to come out and say:”yes guys sorry but we dont need you, we want to sell 1000 times more apps to the consumer market which is soooo much easier. Go use Avid or Adobe we don’t care any more.”