At 5:30 am this past Tuesday, blew the minds of editors around the world. And not in a good way.
Final Cut Pro, the professional nonlinear editing () suite released by Apple over a decade ago, never had it easy. When it first appeared on the scene, it had to compete with industry leader (still its main competition), the also-ran editing system – of which I counted myself a happy user at the time, and fringe-ey weird programs like or the Video Cube. When I hopped onboard the FCP-train, it was already on version 2, and like Media 100 (and unlike Avid, for me anyway) I found it to be an amazing, intuitive system that opened up creative possibilities I’d never had before.
And I was one step closer to that wish for all indie filmmakers – autonomy.
In the days before ubiquitous nonlinear desktop editing, it wasn’t
unusual to pay upwards of $500/day for an editing system plus the cost
of the operator. In 2000, I’d produced a project where we’d spent
$2,000/week on an editing system (and again, the operator was not
included in that price) and felt like we’d gotten away with art theft in
The Louvre. If I wanted to cut something simple like my own directing
reel, I could expect to pay handsomely or beg a friend for a HUGE favor.
At the time this made sense; the cheapest Avid systems at the time ran
about $30,000 and required a great deal of hardware acceleration just to
do things like rotate an image or apply simple color correction. And
when we were done editing, we had to take the project to a DIFFERENT
Avid, the Symphony, to online at $500/hour plus the cost of the
operator. read more...