Apple updates Final Cut Pro, Motion, Compressor, and iMovie for Mac

“Apple has released new updates for both Final Cut Pro and iMovie for macOS through the Mac App Store,” Zac Hall reports for 9to5Mac.

“iMovie version 10.1.5 for macOS includes a few bug fixes and improvements while Final Cut Pro’s update is a bit more detailed,” Hall reports. “Both Motion and Compressor have also received new improvement updates as well.”

“iMovie for Mac is available for free on new Macs and $4.99 on the Mac App Store for older machines,” Hall reports. “Final Cut Pro is available for $299.99 on the Mac App Store, although Apple recently introduced an education bundle for $199 that also includes Logic and other pro apps.”

Full list of improvements and bug fixes for each app here.

MacDailyNews Take: Ahh, there’s nothing like some Mac love from Apple!

As for Final Cut Pro: The best NLE gets even better!

MacDailyNews Note: Today is Good Friday. As we enjoy spending time with family and friends this long Easter weekend, we want to thank you so much for visiting MacDailyNews throughout the year and for making us a part of your day. We really appreciate it!

18 Comments

  1. As more pro’s I know have left for greener and more stable Premiere Pro pastures. A shame Apple burned many bridges with how they handled the introduction of FCPX. Apple just can’t do preemptive paradigm-shifting things that leave pro’s dangling. A little more grace please! (Like making a 64-bit FCP8 first while working on FCPX a few more years.) Bad treatment by Apple in regards to software and hardware isn’t doing them any favors. Arrogance and clueless planning that’s ignorant of it’s intended market is it’s own reward.

    Have a great Good Friday everyone!

    1. “Apple just can’t do preemptive paradigm-shifting things that leave pro’s dangling.”
      But they can, and they did, and they still do. People in the biz for a long time are set in their ways and didn’t want change. What Apple was trying to do could not have been done incrementally on top of the old framework. Those who want the “same old NLE, just faster” paradigm were not customers Apple wanted to keep anyway.

      However, someone just starting today will find a powerful editor in FCPX… and won’t find anything like it anywhere in the industry. Not because no one else can do it, it’s because they don’t want to lose customers for the sake of making things better.

      1. Oh they can sure, they just pay a price for it in lost customers and sales. Care to guess how many pros have already shifted to PC’s because of Apple’s misguided 2013 Mac Pro which was the epitome of what most pros do NOT want. How could they be so wrong if they paid due diligence to their intended market’s needs? Because “they know better?” Sorry but they often don’t.

        You totally miss the problem that FCPX was not ready for pro prime time. And wouldn’t be for a few years. Sorry but you don’t go cold turkey on your pro market. FCP7 was left riddled with issues and crashed on me all the time despite many precautions and careful implementation.

        Well if “same old NLE just faster” customers were not what Apple wanted perhaps they shouldn’t be in the pro market at all. There is also a saying “if it ain’t broke, don’t fix it.”

        All I’m saying is Apple did a very poor job of paving the way to a “better” NLE paradigm. Nothing wrong with improving software but if it entails a big learning curve and software with incomplete solutions or lost functionality I’d say that was a losing proposition. Even today some of my very pro friends use Premiere not because it represents a past paradigm but because it has features they need.

        I’m not against FCPX, I’m against Apple’s calloused and uninformed approach to pro software and hardware releases. (Cancellation of Aperture anyone?) Really, they should know better.

        1. I totally agree. I’m glad to see someone else isn’t a victim of binary thinking. I switched to FCPX early on, but it wouldn’t produce the kinds of projects my clients were paying me to create (such as multi-camera). So I got something that did (Premiere) and could also take advantage of all 96GB of RAM in my Mac Pro (something FCP7 couldn’t do.)

          I didn’t (and don’t) hate FCPX. It simply wasn’t a tool I could use for the jobs I was getting paid to do. It’s still not compelling enough for me to switch from Premiere, but that day may come. If/when it does, I’m glad the pro software vendors (like Apple) offer alternatives.

        2. “Care to guess how many pros have already shifted to PC’s”
          I’d guess 85% of the ones Apple didn’t want as customers anymore. Some have held on hoping that Apple will see the error of their ways and make something they want to buy and are sticking with outdated machines as a result.

          The ones Apple DID want as customers have an iMac or MacBook Pro, have been purchasing hardware since then and are doing fine. Thing is, the ones Apple DIDN’T want are using some other tools and they’re doing fine, too.

          I don’t miss the problem. FCPX was NOT ready for pro prime time at initial release. However, waiting years to make the decision to release it and trying to maintain two separate development paths wasn’t something they wanted to do.

          Better to just say “This new thing is THE thing. It doesn’t have all the features but we’ll be making regular updates”, dedicate your available resources to it and for those who want the “same old”, accept that they are going to go elsewhere. Take the losses in the short run, but have a product with features no one can match in the long run. AND, hopefully, a thoughtfully created framework which allows for incremental improvements so they don’t have to do another wholesale drop of an entire codebase. Future Pro’s getting a copy of FCPX in the educational bundle for $199 today will find a very powerful set of tools that they’ll enjoy for the rest of their career.

          “perhaps they shouldn’t be in the pro market at all”
          This is a point I’ve been making for awhile. I actually think they ARE moving out of the “pro market” as it used to be defined. The way many people describe “Pro” doesn’t generally match what Apple is doing, and Apple doesn’t show any sign of stopping… they are designing “Pro” machines that are primarily “higher end consumer” machines.

  2. Every FCPX update is a blessing. I hope they continue. Actions speak louder than words, so I’m waiting to see what Apple does from now on. This update is a start of what I hope is new thinking at Apple. The loss of Aperture was a big blow to me. The loss of DVDSP was a huge loss. Sorry, my customers still want DVD’s and FCPX and Compressor have a ways to go to equal what DVDSP did. Yes, there was a learning curve from 7 to X but that’s old news. The people who decided to leave have left and those that stayed stayed. Now, take care of the people who stayed. What counts to me is the future. That’s where I make my money.

    1. I agree with your thoughts on DSP (DVD Studio Pro). I still produce about 30 DVD projects per year (totaling around 1,100 DVDs annually) because my clients want a tangible product, and none of them have ever asked for a Blu-ray. I offer digital downloads for those who want HD, but a significant cross-section of my market still prefers DVD.

      Amazingly, DSP continued to run on my Mac Pros with Sierra 10.12.3. But the recent update to 10.12.4 seems to have delivered the coup de gras on DSP because the Build process never finishes and stops at different random places after force-quitting and relaunching the program. Now I have to dedicate a firmware-hacked MacPro2,1 (running 10.11.6) to build DSP projects reliably. Sure, it will also run Adobe’s defunct Encore CS6, but again: no one wants Blu-rays either.

      I truly wish all my clients would switch to the digital download method. Until they do, I’m not about to say ‘no’ to their business. That was similar to the conundrum I had with FCPX early on when it wasn’t able to do multi-camera projects. That’s when I became an Adobe CC customer because I couldn’t afford to wait while Apple decided whether to seriously develop FCPX, or send it the way of Aperture. Fortunately, the way things turned out has given us two viable alternatives to (shudder the thought) Media Composer.

        1. Yes, that’s a great idea; one that I’ve tried. However, folks still like the packaging with a printed label, color artwork, and jewel case. It’s a lot like the vinyl vs. iTunes conundrum: Only one offers a canvas covered in artwork.

          It’s just shocking to me to educate my clients about the advantages of the downloads (high-definition, faster production, less space, can’t get lost because the files are on my server in perpetuity, shareable, editable, etc.), yet 90% of them prefer the DVD. It makes no sense.

          Starting next year I’m going to significantly raise the cost of DVD production. I’ll have to because my disc printers are wearing out, the duplicators are aging, DSP is on its last legs, etc. So perhaps the lower cost of downloads will finally sway enough of them over to the 21st century. For those that still want DVDs, at least I’ll be making more money on them and that will help me buy three new printers at $985 a pop. I’d rather not invest in 20-year-old technology, but that will be up to the clients who might pay more to get less.

          1. Tangible vs. someone’s server. Which could easily disappear if that someone goes out of business, or retires and hangs up that server.

            If I were your client, I’d be the first to ask for a digital copy and couldn’t care less for a DVD. Burned DVDs have a limited shelf life. Discs I had burned some fifteen years ago are slowly exhibiting problems, one by one. The dyes used in the early DVD-Rs are affected by the humidity and pollution in the air and the discs are starting to fail. Today’s DVD-R media is manufactured using different silver alloys and organic dyes, so presumably, their shelf life will be better, but even that will still greatly depend on the environment. If you put that DVD on a shelf in your living room, and if at some point during the day, sun gets to shine directly on that shelf, you can be sure that your wedding video will likely be unwatchable by the time your oldest child is in high school.

            People don’t know this, and for them physical is pyisical – they own it, they know where it is, ant its fate is literally in their hands.

            And most people still can’t notice (or don’t care about) the difference between SD and HD. hence, no demand for blue ray.

            1. Those are all excellent points. I wish more end-users (my clientele) were able to comprehend the disadvantages of DVDs. I’ve truly worked hard to help them understand but, alas, it’s been a bit of a slog.

              As for the servers, everything is co-located and contracted to be accessible for 5-years. If I die (knock on wood), my clients will have at least that long to download their videos.

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