16 , 2000
by Anthony Wood
The old adage of "teaching old dogs new tricks" certainly applies to those of us trying to get used to new versions of graphics and editing software after years of settling in and getting comfortable with one particular tool.
This is never truer for me than with video NLE software. I remember my first Avid Media Composer seminar back in the early nineties. Just the concept of non-linear video and all it had to offer over conventional editing had my head spinning. I spent the next five years honing my skills as an Avid editor in both off-line and on-line situations.
Then along came Adobe Premiere. I had taken the plunge and set up an edit suite out of our home office using a Windows NT-based DV system that used Premiere as its main editing software. My frustration started as soon as I double-clicked the Premiere icon.É"This wasn't like Avid! The tools were in all the wrong places! Capturing and bin organization were completely different! And what's with this overlapping, dual channel video timeline?!"
But spending hours at the helm completing numerous projects soon quieted my fears, and now editing with Premiere is as natural to me as using my favorite spoon with my morning corn flakes.
Now along comes the much-heralded Final Cut Pro 1.2.5 ($1000), Apple's foray into the NLE arena.
The idea of reviewing this particular software gave me pause for thought. "Could I be fair? Would I give Final Cut negative points simply for not being what I'm used to? For putting toolbars and filters in areas I wasn't comfortable with?" I had to get some outside input. I turned to my most valuable resource, my wife Claudia, who is an award-winning documentary producer and has spent countless hours in various linear and nonlinear edit environments. If anyone could run Final Cut through its paces fairly it would be her.
So, the following review is based on careful notes we kept as we used Final Cut Pro to cut a variety of programs that utilized any number of transitions, effects and filters.
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