Reconsidering Apple’s Final Cut Pro X in Hollywood

“Next up in the series of presentations from the Faster Together stage at NAB is Josh Beal,” Patrick Southern writes for “He thinks it is time for Hollywood to reconsider Final Cut Pro X as a viable editing platform.”

“It’s no secret that Final Cut Pro X had a bit of a lackluster response when it first rolled out,” Southern writes. “However, it has gained a lot of respect in the last few years for many professionals. A number of feature films, documentaries, and TV series are being cut in Final Cut Pro X all around the world. But there is one place where it still sees very little use: Hollywood.”

“Josh is a long-time Hollywood editor. He’s worked on shows like Counterpart, Bloodline, and House of Cards,” Southern writes. “At NAB, he gave this presentation on why it is time for Hollywood to reconsider Final Cut Pro X.”

Full article here.

MacDailyNews Take: Editors who do not use or, more precisely, do not know how to use Final Cut Pro X are doing themselves and their clients a disservice. They are taking longer and working harder to get to the same place.

Apple releases Final Cut Pro 10.4.1, Motion 5.4.1 and Compressor 4.4.1 – April 9, 2018
Apple announces Final Cut Pro X 10.4.1; introduces ProRes RAW and advanced closed captioning – April 5, 2018
Why Apple’s Final Cut ProRes RAW upgrade matters to you – April 6, 2018
What it took for one Adobe Premiere editor to switch to Apple’s Final Cut Pro X – February 12, 2018
Macworld reviews Final Cut Pro X 10.4: Innovative, elegant, and unusual – January 26, 2018
Apple releases Final Cut Pro X 10.4; introduces 360-degree VR video editing – December 14, 2017
Final Cut Pro X 10.4: Apple’s worldwide debut – November 1, 2017
Apple releases Final Cut Pro X 10.3.4 – May 26, 2017
Off the Tracks: Documentary shows how Apple’s Final Cut Pro X is disrupting the post production industry – May 24, 2017
Apple’s Final Cut Pro X hits 2 million users milestone – April 26, 2017
Apple’s Final Cut Pro X product team return to the spotlight after 5 years – December 14, 2016
A week editing with Apple’s new MacBook Pros and Final Cut Pro X – November 21, 2016
Apple releases significant Final Cut Pro X update – October 27, 2016
PC Magazine reviews Apple Final Cut Pro X: Editors’ Choice – June 15, 2016
The BBC adopts Apple’s Final Cut Pro X – September 4, 2014
Happy 3rd Birthday, Final Cut Pro X – June 20, 2014


  1. How can any professional trust Apple?

    You are a professional, your income is dependent of a piece of proprietary software. Apple has a history of dropping and/or fundamental changes to professional software without any care of how it will effect the people who are dependent on it. Apple has a history of not updating the hardware needed to run the software.

    Adobe Premier might not be as good, but at least you always know it will be there and there will be either a mac or pc powerful enough to maximize it.

    1. Adobe dropped Digital Publishing Suite and are currently discontinuing Muse and Business Catalyst. And their customers will still be paying for it every month.

    2. As a long time Freehand & Pagemaker (oh hell, throw Fireworks and GoLive in there too) user, I’d reconsider using Adobe as an example of a developer that supports it’s software ad infinitum. Yes, I’m a professional designer and yes, my income was entirely dependant on these applications. And yes, it was many years ago but the impact was the same – regardless of whether these applications were acquired by Adobe or not. Adobe will cut loose an application (and it’s users) when it has to, like any other developer.

      1. Freehand and PageMaker were absolute, positive legendary software. Adobe looked in the mirror and asked that person there, how can I f**k this up? And the answer was ‘hey, I’ll rent them shitty software in its place’. Will never use Photoshop, will never use InDesign, will never use Illustrator … ever. I’ll let you all rent from Adobe.

  2. Professionals change programs whenever they need to according to the situation they are in. This conversation is missing the fact that AVID still commands the Hollywood system and for good reasons. Premier is frequently the choice for smaller series and productions due to the mostly easy integration with AfterEffects and other Adobe programs and that it’s easier to share edit files than FCPX. FCPX is used by series and large productions but it requires a more thoughtful approach to collaboration and multi-department production houses. Thought isn’t always available in high pressure production environments so even though Premier isn’t as good a program and causes many headaches that FCPX never does it’s easier to manage in a multi-workstation facility. AVID still is the best for large production houses but the costs, especially to utilize free-lancers out of house, limits it’s widespread use.

  3. I would really like to see MDN adopt a “real name” policy vs screen names, and have them tied to a device ID.

    Too many posters (like the first two in this thread) read like paid FUD spreaders or a single poster with multiple screen names.

    1. What might be the purpose of a paid FUD campaign in this case? — Pissed-off lone wolves, I understand.. they are practicing thumb-on-the-scale techniques to promote their own biases, and grow up to be hackers or shoplifters.

    2. I posted FUD? I posted rational, balanced thought, not child-like ranting by people who seem to not be real professionals working in the industry. Everybody screams and yells about Apple dropping FCP but what they did was create a different program instead of another program that works like Premier 1.0 or Avid 1.0. So guess what? There is now a choice in work spaces now instead of 3 major programs that operate the same way but are different in the details. And the free version of Resolve is turning into a nicely functional basic pro video editor. So we have a free pro editor, a $300 with so-far unlimited upgrades and support pro editor, a subscription based pro editor that costs hundreds of dollars a year and a super pro editor that costs thousands of dollars to set up and who knows what to upgrade. Good competition all around.

    3. Youll soon discover that firstthen, bovinnk, goob, stevejack, and the rest of the trumpanzee network are dialing it in frm their commune in BF Oklahoma. Western branch of the kremlin.

  4. When Apple discontinued Final Cut Studio for iMovie Pro X d.b.a Final Cut Pro, they screwed over every customer with no upgrade path and no upgrade price.

    Final Cut was bundled and not inexpensive. When Apple pulled that stupid trick they screwed the customers over money wise and by shipping a not ready for prime time product. They did the same with Logic and later just euthanized Aperture.

    As a customer who bought the full version of all and was royally screwed over- no thanks. What they did was no class and not in the Apple tradition. After dropping a couple thousand on Apple’s Pro software, they knifed it with no advance warning and did not even offer an upgrade price.

    Would not buy that SW if they threw in a new Black iMac.

    1. Let’s also not forget Shake. Apple made the critical mistake of not having a FCP8- 64-bit – as a transitional NLE giving them time to perfect FCPX. And they’ve been paying for it ever since giving Adobe a real opening.

      Most industry editing pros I know are not using FCPX (mostly Premiere & Avid), though many of them had once been using FCP 6 & 7 until Apple betrayed them. Apple’s insensitivity to pros extends back to the FCPX debacle in 2011. We should’ve seen it coming as a prevailing attitude & communication problem.

    2. No upgrade price? Final Cut Pro was $1,000 when it was released. Final Cut Pro X was $299…. is the problem that it was $299 for everyone and they didn’t call it an “upgrade” price? What was Adobe P and Avid going for at the time? If I remember correctly, a good deal more than $299.

      1. They unbundled Final Cut Studio which included
        Final Cut Pro
        Soundtrack Pro
        DVD Studio Pro
        Studio Tools
        The new castrated version is $299 + Compressor + Motion and does not include the others.

        Then there is the whole Logic Suite and Aperture.

    3. Nailed it! Cost me thousands in hardware and software. I’ve since moved on and away from Apple. I won’t ever make that mistake again. When this Mac dies … err I mean is no longer supported … I mean gets killed by another “necessary update” … well, you know.

  5. Every single poster here lambasting Apple for walking away from pros (and even prosumers) is absolutely justified. Tough place to be …. let yourself be screwed by Apple because you absolutely know they are going to do it again, or, be an indentured slave on Adobe’s software rent-a-suite for life. Both are impossibly unsavory. Stay on Macs knowing that Pipeline is going to give you the shaft again, or, suffer death by a thousand DOS cuts on PChit. Its lose/lose. So, we must choose … and its Mac/FCPX/Pixelmator ad infinitum. And hope we can get RID of Pipeline some day.

    1. Exactly.
      Apple will not roadmap like other companies do- you do not have to give way trade secrets, but is damn sure would be nice to signal before you turn.

      The hyper obsessive secrecy hurts the company and partners in SW and HW. It also hurts end users.

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