![]() ![]() "It's a whole new editing environment," the critics shouted and, indeed, it was. My initial research told me that FCPX was best avoided. The inevitable change to a new NLEĭespite my 'if it ain't broke don't fix it' approach, in 2013, I began to search for a viable, long-term alternative NLE solution. ![]() The rumours seem to be based on beta-tests of the new OS, but given that an update for the image management app Aperture was only belatedly released to ensure compatibility with Apple's OSX Yosemite, you have to wonder how much longer FCP7 can keep its head above the waters of change. However, the very last rites for FCP7 may now be upon us as rumours circulate that the venerable editing package does not run on Mac's new El Capitan operating system. Simply ditching the system for something new was not an option. My business had made a pretty significant investment in that editing platform and all our previous projects had been cut on it. When the demise of FCP7 was announced, I chose to carry on using FCP7 for some time. Of course, smaller production offices are able to be more fleet of foot than large organisations. Armies of editors need to be retrained, new data backup systems need to be designed, workflows adapted, operating systems may need either updated or swapped, budgets scrutinised, heads scratched, coffee drunk and so on. The main reason for this reluctance was that, for broadcasters, this kind of change is more than just about buying a new edit system and trying it out. Now, as many of you will know, Final Cut Pro 7 was officially pensioned off in 2011 upon Apple's release of FCPX, but many organisations were reluctant to 'manage that change', including many broadcasters. So, it is no secret then that the client in question is still, at the time of writing, using Apple's Final Cut Pro 7 as one of its main NLEs. This was done so that all the source material thrown at the system is conformed into a standard codec for ease of use in the edit. My Prelude workflow has been set up (very painlessly, I might add) to conform all my project material, frequently shot in a range of Apple ProRes, to mimic the workflow that has been established by one of my clients. But, with rumours that it will not run on the forthcoming El Capitan OS growing, how long can editors keep relying on it? By Andrew Johnstone.Īs I type, Adobe Prelude is whirring away in the background, ingesting and transcoding rushes from my latest shoot into a new project file for my next film. Four years after Apple pulled the plug, Final Cut Pro 7 still plays an important role in the industry. ![]()
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