Amidst the hoopla on Oct. 27th, when Apple introduced the new MacBook Pro with Touch Bar, the ProApps team also released updates to Final Cut Pro X, Motion and Compressor. This was great news for fans, since Final Cut got a prime showcase slot in the event’s main stage presentation. Despite the point numbering, the bump from 10.2 to 10.3 is a full version change, just like in macOS, where 10.11 (El Capitan) to 10.12 (Sierra) is also a new version. This makes FCP X 10.3 the fourth iteration in the FCP X line and the eleventh under the Final Cut Pro brand. I’m a bit surprised that Apple didn’t drop the “X” from the name, though, seeing as it’s done that with macOS itself. And speaking of operating systems, this release requires 10.11.4 (El Capitan) or higher (Sierra).
If you already purchased the application in the past, then this update will be a free upgrade for you. There are numerous enhancements, but three features stand out among the changes: the new interface, the expanded use of roles for mixing, and support for a wider color gamut.
A new look for the user interface
The new user interface is darker and flatter. Although for my taste, it’s a bit too dark without any brightness sliders to customize the appearance. The dimensional style is gone, putting Final Cut Pro X in line with the aesthetics of iMovie and other Apple applications. Final Cut Pro X was already out of step with design trends at the time it was first released. Reskinning the application with this new appearance brings it in line with the rest of the design industry.
The engineers have added workspaces and rearranged where certain controls are, though generally, panels are in the same places as before. Workspaces can be customized, but not nearly to the level of Adobe’s Premiere Pro CC. The most welcomed of these changes is that the inspector pane can be toggled to full height when needed. In reality, the inspector height isn’t changed. It’s the width of the timeline that changes and toggles between covering and revealing the full inspector panel.
There are other minor changes throughout 10.3, which make it a much better application. For example, if you like to work with a source/record, 2-up viewer display, then 10.3 now allows you to play a source clip from inside the event viewer.
Magnetic Timeline 2 and the expansion of roles
Apple did a lot of work to rejigger the way the timeline works and to expand the functionality of roles. It’s even being marketed as Magnetic Timeline 2. Up until now, the use of roles in Final Cut has been optional. With 10.3, it’s become the primary way to mix and organize connected clips within the timeline. Apple has resisted adding a true mixing panel, instead substituting the concept of audio lanes.
Let’s say that you assign the roles of dialogue, music or effects to your timeline audio clips. The timeline index panel lets you organize these clips into groups according to their assigned roles, which Apple calls audio lanes. If you click “show audio lanes”, the various connected clips rearrange vertical position in the timeline window to be grouped into their corresponding lanes, based on roles. Now you have three lanes of grouped clips: dialogue, effects, music. You can change timeline focus to individual roles – such as only dialogue – which will minimize the size of all the other roles (clips) in the window. These groups or lanes can also be soloed, so you just hear dialogue without the rest, for example.
There is no submix bus to globally control or filter groups of clips, like you have in Premiere Pro or most digital audio applications. The solution in FCP X 10.3 is to select all clips of the same role and create a compound clip. (Other NLEs refer to this as “nesting”.) By doing so, all of the dialogue, effects and music clips appear on the timeline as only three compound clips – one for each role. You can then apply audio filters or adjust the overall level of that role by applying them to the compound clip.
Unfortunately, if you have to go back and make adjustments to an individual clip, you’ll have to open up the compound clip in its own timeline. When you do that, you lose the context of the other clips. For example, tweaking a sound effect clip inside its compound clip, means that you would only hear the other surrounding effect clips, without dialogue and music or seeing the video. In addition, you won’t hear the result of filters or volume changes made at the top level of that compound clip. Nevertheless, it’s not as complex as it sounds and this is a viable solution, given the design approach Apple engineers have taken.
It does surprise me that they ended up with this solution, because it’s a very modal way of operating. This would seem to be an anathema to the intent of much of the rest of FCP X’s design. One has to wonder whether or not they’ve become boxed in my their own architecture. Naturally others will counter that this process is simplified due to the lack of track patching and submix matrices.
The industry at large is embracing color standards that enable displays to reproduce more of the color spectrum, which the human eye can see. An under-the-hood change with FCP X is the embrace of wide gamut color. I think that calling it “wide color” dumbs down the actual standards, but I guess Apple wants to keep things in plain language. In any case, the interface is pretty clear on the actual specs.
Libraries can be set up for “standard color” (Rec. 601 for SD and Rec. 709 for HD) or “wide color” (Rec. 2020). The Projects (sequences) that you create within a Library can be either, as long as the Library was initially set up for wide gamut. You can also change the setting for a Project after the fact. Newer cameras that record in raw or log color space, like RED or ARRI models, are perfectly compatible with wide color (Rec. 2020) delivery, thanks to post-production color grading techniques. That is where this change comes into play.
For the most part you won’t see much difference in normal work, unless you really crank up the saturation. If you do this in the wide color gamut mode, you can get pretty extreme and the scopes will display an acceptable signal. However, if you then switch the Project setting to standard color, the high chroma areas will change to a somewhat duller appearance in the viewer and the scopes will show signal clipping. Most current television display systems don’t display wide gamut color, yet, so it’s not something most users need to worry about today. This is Apple’s way of future-proofing Final Cut and to pass the cleanest possible signal through the system.
A few more things
Numerous other useful tools were added in this version. For example, Flow – a morphing dissolve – for use in bridging jump cuts. Unlike Avid’s or Adobe’s variations, this transition works in real-time without analysis or rendering. This is because it morphs between two still frames. Each company’s approach has a slightly different appearance, but Flow definitely looks like an effect that will get a lot of use – especially with interview-driven productions. Other timeline enhancements include the ability to easily add and toggle audio fades. There’s simplified top and tail trimming. Now you can remove attributes and you can roll (trim) between adjacent, connected clips. Finally – a biggie for shared storage users – FCP X can now work with NAS systems that use the SMB protocol.
Working with it for over a week at the time I post this, the application has been quite stable, even on a production with over 2,000 4K clips. I wouldn’t recommend upgrading if you are in the middle of a production. The upgraded Libraries I tested did exhibit some flakiness, which weren’t there in freshly created Libraries. There’s also a technique to keep both 10.2 and 10.3 active on the same computer. Definitely trash your preferences before diving in.
So far, the plug-ins and Motion templates still work, but you’ll definitely need to check whether these vendors have issued updates designed for this release. This also goes for the third-party apps, like those from Intelligent Assistance, because 10.3 adds a new version of FCPXML. Both Intelligent Assistance and Blackmagic Design issued updates (for Resolve and Desktop Video) by the next day.
There are a few user interface bugs, but no show-stoppers. For instance, the application doesn’t appear to hold its last state upon close, especially when more than one Library is open. When you open it again the next time, the wrong Library may be selected or the wrong Project loaded in the timeline. It occasionally loses focus on the pane selected. This is an old bug that was there in previous versions. You are working in the timeline and all of a sudden nothing happens, because the application “forgot” which pane it’s supposed to have focus on. Clicking command-1 seems to fix this. Lastly, the audio meters window doesn’t work properly. If you resize it to be slimmer, the next time you launch FCP X, the meters panel is large again. That’s even if you updated the workspace with this smaller width. And then sometimes they don’t display audio until you close and reopen the audio meters window.
In this round of testing, I’ve had to move around Libraries with external media to different storage volumes. This requires media relinking. While it was ultimately successful, the time needed to relink was considerably longer than doing this same task in other NLEs.
My test units are all connected to Blackmagic Design i/o hardware, which seems to retard performance a bit. With a/v output turned off within the FCP X interface, clips play right away without stuttering when I hit the spacebar. With the a/v output on, I randomly get stuttering on clips when they start to play. It’s only a minor nuisance, so I just turn it off until I need to see the image on an external monitor. I’ve been told that AJA hardware performs better with FCP X, but I haven’t had a chance to test this myself. In any case, I don’t see this issue when running the same media through Premiere Pro on the exact same computer, storage and i/o hardware.
Final Cut Pro X 10.3 will definitely please most of its fans. There’s a lot of substance and improvement to be appreciated. It also feels like it’s performing better, but I haven’t had enough time with a real project yet to fully test that. Of course, the users who probe a bit deeper will point to plenty of items that are still missing (and available in products like Premiere Pro), such as better media relinking, more versatile replace edit functions and batch exporting.
For editors who’ve only given it a cursory look in the past or were swayed by the negative social media and press over the past five years, this would be the version to re-evaluate. Every new or improved item is targeted at the professional editor. Maybe it’s changed enough to dive in. On the other hand, if you’re an editor who’s given FCP X a fair and educated assessment and just not found it to your liking or suitable for your needs, then I doubt 10.3 will temp you. Regardless, this gives fans some reassurance about Apple’s commitment to professional users of their software – at least for another five years.
Originally written for Digital Video magazine / Creative Planet Network
©2016 Oliver Peters