1/24/2024 0 Comments Final cut pro ipad m1Where the budget had allowed for only 4 hours in a conventional suite to do a very quick grade, the director and I were able to spend 3 whole days experimenting and fine-tuning the look. Despite the limitations and slow render times, it was such a creatively liberating process to be able to spend time on the grade with the director. In early 2002 I color graded the TV film ALBERT’S CHOOK TRACTOR in the uncompressed FCP suite owned by the production company. In 2001, FCP V3 came out with the 3-way Color Corrector which enabled both primary and secondary color corrections within the edit timeline. Levels of quality, speed and creative flexibility were suddenly accessible to a lot of people who then used them to create new content that they would not have otherwise been able to create or would not have been able to do at anywhere near the same quality.įor me, it meant I was able to do short films on 35mm film (shooting on short ends), transfer to DV tape and then edit in FCP. The combination of being able to record digital video at resolution previously only available on “broadcast” equipment and then send it via the Firewire connection to a Mac running FCP instantly and completely changed what was possible for small production companies, advertising agencies, video artists and film students around the world. The arrival of FCP also coincided with the DV videotape format and while DV was originally intended as a consumer format, the quality far exceeded expectations. I had successfully put together a single, 30 second TV commercial entirely in Adobe After Effects, but that was an extremely slow and laborious process back then! At the time, I had been using Avid Media Composer and Media 100 at facilities but the cost of these systems meant that they were something that needed to be rented by the hour for most production companies. The radical change that Final Cut Pro brought to video editing when it was first released is hard to put into perspective now. Having been using Final Cut Pro since version 1, I’m very conscious of how the application has evolved and its changing place in the film & video world over the last two decades. There are few things that leverage all of these factors to the extent that editing and processing high resolution video does. The M1 and now the M2 processors have been such a big leap forward for video work because of the way that they combine high powered CPU and GPU processing with shared memory and low power and heat. Together, these two releases reflect where the iPad hardware has arrived with the “M” series Apple silicon. The other context, particularly for FCP is the recent arrival of DaVinci Resolve on the iPad as well. So the announcement of Final Cut Pro and Logic Pro arriving on the iPad was as much a surprise milestone as it was a destination that feels like it has been sitting just beyond the horizon for a long time. Their dominant position at the premium end of so many different market segments allows them to do something very few tech companies can do to the same extent… they can choose to play the long game. The answer to this question becomes quite obvious when you look at Apple as a whole. In fact, to many observers the question was not “why” but “why did it take so long?” Other editing and music apps have had success on the device for years and as the hardware has become increasingly powerful, the appeal of bringing the flexibility of the professional tools to the extremely portable and self-contained tablet system has been increasingly clear. In one sense it was inevitable that Apple’s flagship pro apps, Final Cut Pro and Logic Pro, would eventually make their way onto the iPad.
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