With an interface that feels like it’s designed for artists rather than engineers, Apple’s new Final Cut X — to be released in June at $299 — redefines the game, much like DSLRs altered the game for prosumer video cameras by creating a new category of their own. The new Final Cut Pro seems unlike anything else out there in the nonlinear editing (NLE) market.
Apple’s new interface for Final Cut Pro X. Notice the the relationship links and audio waveforms. The upper left features the management and organization window where you can sort files in different categories. The preview window is a film strip, where you can set the preview length (such as a new image every ten seconds) — and audio can be scrubbed allowing you to hear the dialogue. (Image courtesy of Apple.)
Apple’s Peter Steinauer (senior video applications engineer), unveiled the software at the Final Cut Pro User Group meeting in Las Vegas on April 12, 2011, declaring how they’ve created a new version of Final Cut that was designed from the ground up—not a facelift of the existing engine, but a brand new beast.
To read the complete article go to Focal Press’s Mastering Film: