Since the early 2000s, Final Cut Pro has developed a large and expanding user base, mainly video hobbyists and independent filmmakers. It has, in later years especially, made inroads with film and television editors who have traditionally used Avid Technology's Media Composer. According to a 2007 SCRI study, Final Cut Pro made up 49% of the US professional editing market, with Avid at 22%. A published survey in 2008 by the American Cinema Editors Guild placed their users at 21% FCP (and growing from previous surveys of this group), while all others were still on an Avid system of some kind.
Final Cut Pro 7 claims better integration with Apple's other professional applications and improved codec support for editing HD, DV and SD video formats, including encoding presets for devices such as iPod, Apple TV, and Blu-ray discs. A technology called DynamicRT built on the RT Extreme technology was released with Final Cut Pro 4. DynamicRT allows a real-time multistream effects architecture, which can be set to automatically adjust image quality and frame rate during playback to maintain real time effects. For example, when there are a large number of video streams playing simultaneously it will, in real time, switch to a mode that reduces the quality of the playback so that all of them can be seen in real time; when the computer is capable it will automatically return playback to native quality (that is, when there are fewer simultaneous video streams). Final Cut Pro also supports mixed video formats (both resolution and framerate) in the Timeline with real time support.
In 2003, Apple launched Final Cut Express, a less expensive version of Final Cut Pro. It uses the same interface as Final Cut Pro, but it lacks all of the film-specific tools and other advanced options, limiting the feature set for non-professional editors.
In January 2005, Soundtrack and LiveType, previously only available with Final Cut Pro, were added to Express, and features were added to edit HDV. Soundtrack was subsequently removed with Final Cut Express 4.
On June 21, 2011, Apple released a new version of Final Cut Pro, renamed to "Final Cut Pro X", heavily based on iMovie (leading some users to call it "iMovie Pro"). Described as a complete rewrite of the original application. FCP X is a 64-bit application with Grand Central Dispatch and OpenCL support, allowing it to scale and use all available cores for background rendering. FCP X supports up to 4K resolutions and during import, can analyse footage and audio for automatic sorting into groups such as close-ups, medium shots, shots with two people or group shots as well as prepare the footage for quick, automatic fixes for defects such as lens flare, camera shake, rolling shutter, colour balance. Audio can also be analysed in an attempt to automatically remove hums, pops or other noticeable defects. It also features a 'Magnetic Timeline' which edits footage in the middle of the Timeline without knocking any other clips or audio out of place at other points of the Timeline. It has been available on the Mac App Store since June 21, 2011 for $299.99, along with Motion 5 & Compressor 4, both selling at $49.99.
Some professional users of earlier versions of Final Cut Pro have been critical of FCP X shortly after its release, giving the app more 1-star reviews than 5-star reviews at the Mac App Store on June 22. Among other missing features, disgruntled users cited lack of edit decision list (EDL), XML and Open Media Framework Interchange (OMF) support, inability to import projects created in previous releases of Final Cut Pro, the inability to have more than one editing sequence in a project, removal of the multicam editing tool and the inability to use 3rd party IO hardware for capture and output (all features present in the previous Final Cut Pro version). In response to critics, Apple has stated that they only plan to incorporate multicam support in future releases of the software. Unlike its competition from Avid and Adobe, FCP also doesn´t offer support for native raw editing, as required for high-end digital cinema cameras as the Red One, 3D editing and advanced Blu-ray creation. As a response, those competitors are trying to win back the market share by offering return discounts to convince professionals that if they plan to upgrade systems, that they should convert to systems that still have the professional features lost in the new version of Final Cut Pro X. Some are taking the stance that migrating away from Final Cut Pro is inevitable for professionals.
The Final Cut (Pro and Express) interface was designed around traditional (i.e. non-computerised) editing workflows, with four main windows that replicate tried-and-trusted methods of organizing, viewing and editing physical tape or film media. The Browser, where source media files (clips) are listed, replicates the editor's traditional film 'bins' or stacks of videotapes. The Viewer, where individual media files can be previewed and trimmed, replicates the source monitor of older tape-based systems. The Canvas replicates the 'programme' monitor in such systems, where the edited material is viewed. The Timeline, where media are cut together (assembled) into a sequence, replicates the physically edited film or master tape of earlier systems. There is also a small Toolbox window and two audio-level indicators for the left and right audio channels. Both the Viewer and Canvas have a shuttle interface (for variable-speed scanning, forwards or backwards through a clip) and a jogging interface (for frame-by-frame advancing). As in most digital non-linear editing applications, the Browser is not an interface to the computer's file-system. It is an entirely virtual space in which references to clips (aliases) are placed for easy access, and arranged in folders called 'bins'. Since they are only references to clips that are on the media drive of the computer, moving or deleting a source file on the media hard drive destroys the link between the entry in the Browser and the actual media. This results in a 'media offline' situation, and the media must be 'reconnected'. Final Cut Pro can search for the media itself, or the user can do this manually. If multiple clips are offline at the same time, Final Cut can reconnect all the offline media clips that are in the relative directory path as the first offline media clips that is reconnected.
Final Cut Pro 7 claims better integration with Apple's other professional applications and improved codec support for editing HD, DV and SD video formats, including encoding presets for devices such as iPod, Apple TV, and Blu-ray discs. A technology called DynamicRT built on the RT Extreme technology was released with Final Cut Pro 4. DynamicRT allows a real-time multistream effects architecture, which can be set to automatically adjust image quality and frame rate during playback to maintain real time effects. For example, when there are a large number of video streams playing simultaneously it will, in real time, switch to a mode that reduces the quality of the playback so that all of them can be seen in real time; when the computer is capable it will automatically return playback to native quality (that is, when there are fewer simultaneous video streams). Final Cut Pro also supports mixed video formats (both resolution and framerate) in the Timeline with real time support.
In 2003, Apple launched Final Cut Express, a less expensive version of Final Cut Pro. It uses the same interface as Final Cut Pro, but it lacks all of the film-specific tools and other advanced options, limiting the feature set for non-professional editors.
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Some professional users of earlier versions of Final Cut Pro have been critical of FCP X shortly after its release, giving the app more 1-star reviews than 5-star reviews at the Mac App Store on June 22. Among other missing features, disgruntled users cited lack of edit decision list (EDL), XML and Open Media Framework Interchange (OMF) support, inability to import projects created in previous releases of Final Cut Pro, the inability to have more than one editing sequence in a project, removal of the multicam editing tool and the inability to use 3rd party IO hardware for capture and output (all features present in the previous Final Cut Pro version). In response to critics, Apple has stated that they only plan to incorporate multicam support in future releases of the software. Unlike its competition from Avid and Adobe, FCP also doesn´t offer support for native raw editing, as required for high-end digital cinema cameras as the Red One, 3D editing and advanced Blu-ray creation. As a response, those competitors are trying to win back the market share by offering return discounts to convince professionals that if they plan to upgrade systems, that they should convert to systems that still have the professional features lost in the new version of Final Cut Pro X. Some are taking the stance that migrating away from Final Cut Pro is inevitable for professionals.
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