Hi there. This is a little blog about FCP X. “The internet is full of blogs about FCP X” you say. “Why bother?” Well, this one comes from the perspective of the tiny world of (generally) offline movie trailer editing in Hollywood. And it’s specifically aimed at those folks who use the discontinued version of FCP and need to eventually switch to another NLE. And especially at those who have heard, mostly from people who don’t use it, that FCP X isn’t any good. If you’re bored, check out the original It Doesn’t Suck post to see where I’m coming from. In any case, I just thought I’d add my opinions and experiences to the 800 billion others out there. Also, I am selfish. I Like FCP X😛
Well, the wait is over, Motion and Compressor have finally been updated!
Oh, hold on… Final Cut Pro X 10.3 was released today too right?
It’s been a long time coming and for good reason… it’s a major update, arguably the biggest yet. Since everyone on the internet will be writing about these updates in depth, I’ll be providing the TL;DR (too long;didn’t read) version for FCP X and talking about what it’s like to actually use it. Let’s start with the headline features, then go a little in depth.
Brand New UI
Redesigned Timeline 2.0 with optional Role Organization
Color Code Roles
Re-Order Roles in the Timeline
Timeline Clip Height KB Shortcut now properly works in Timeline
Add Roles on import manually or using iXML, in the Inspector, or TL Index.
Batch Assign Roles in the Inspector
New MXF and DPP Metadata Views (Apple cares about pros!)
Remove all Effects or Remove Attributes.
Customizable, Recallable Workspaces
One Click to add Audio-Only Fades (set this in Editing Preferences under Audio)
Optional Full Height Inspector
Add Effects to master Roles in a Compound Clip (Role based mixing.)
New Audio/Music Browser with Waveform Preview
Optional Continuous Play in the Browser (set this in the View Menu Browser options)
Consolidate custom Motion Templates in a Library (set this in Library Inspector or right click a Library in the Browser)
Open Libraries from an SMB NAS
Built in Flow (morph) Transition
Source Timecode Generator and Effect
Check the release notes, there’s a lot more. New Pro formats, Full screen Timeline on a second monitor (and other 2 display options), XML Import into existing Events (loving this!). It’s pretty clear now why this took a while to appear, it’s kind of a whole new app. FCP X 10.3 will run on macOS 10.11.4 and up.
As I said… Rather than just listing all the features – you can find those in the help menu or online – lets have a look at what it’s like to actually use this beast.
Brand New User Interface
Dark, flat, and in my opinion, way better to work with than the old version… I use a bunch of NLE’s and this version of FCP X is by far the easiest on the eyes. Many buttons, controls and Menu options have moved and/or been consolidated in a much more logical fashion. It takes a minute to figure out where everything is, but it really makes much more sense in day to day use.
The Music & SFX Browser moves to the main browser window, and gains a skimmable waveform view. Titles and Generators now appear in the Browser as well. Put the Browser on a second monitor as I do at work, and it’s much easier to hunt for stuff.
Also, you can now store Motion Templates in the Library if you want. You set this in the Library Inspector or by right clicking a Library in the Browser, very straightforward. Now when you share or archive Libraries, any custom Motion Templates can travel with it. This is a big deal for folks who collaborate on jobs and use custom Templates. Remember that any plugins that are not stored in the Motion Templates Folder will still need to be installed on all machines on which you open the Library.
New Wide Gamut Options and Viewer Range Check
New settings allow editing and output in Rec.709 or Rec.2020 (Wide) color space. Compatible monitors are necessary for wide gamut display. You can set the color space for individual Projects, or an entire Library. Note that in order to change a Project from Rec 709 to Wide you must first set the Library to Wide. You can then flip individual projects between the 2 color spaces.
In the Viewers, the option to display Range Check overlays has been added. Most people may not need this, but it’s essential for professional broadcast work.
Customizable Recallable Workspaces
There are a few default sets, and you can now create and save your own custom layouts as well. New buttons have been added to quickly switch from single to dual monitors, Show/Hide the Timeline and Browser, and you can choose a myriad of different combinations of what you’d like to show in each Workspace or on either monitor. The option to put a full screen Timeline on a second monitor is one of my favorites. Save as many arrangements as you want. It’s very cool, very simple to work with, and very nicely done. Workspace settings can be easily revealed in the Finder to copy to other systems if you want.
Remove Effects and Remove Attributes
Another much requested feature, and it’s implemented really well. You can select a group of clips and remove all the applied effects if you want. Or, using a window much like Paste Effects, selectively remove any Transform parameters, Effects, or combinations of each. Very nice, and worth the wait. And here’s a treat for you… Match Color now can once again copied and pasted or saved with a preset, it’s no longer orphaned as it has been since 10.2.0.
Full Height Inspector
This is super useful. You can show the Inspector as you always have, or with a keystroke it expands to the full height of your monitor. Really nice to have this, especially with Effects that have lots of controls.
Work With Libraries From SMB NAS
You can now open Libraries that are stored on NAS drives via SMB. No fancy setups, hardware or voodoo needed. I have a 2013 Mac Mini running OS X Server with a bunch of Promise Pegasus drives attached to which I connect via a GB Ethernet switch, and it works perfectly for me. This ability was seen as a “missing” feature that is being put back in, but it’s one of those things that make one wonder what Apple has up their sleeve.
For some reason I wasn’t able to copy existing Libraries on my computer to the server (likely a permissions issue on my end), but I’ve created new Libraries on the server and they work just like local Libraries. Waveforms and thumbnails refresh a tiny bit slower, but that’s probably due to the Ethernet speed, not FCP. Very nice to have this for those of us who work in collaborative environments.
Timeline 2.0 – Roles
OK, here’s the thing everyone will be talking about… After revamping most of the other parts of X over the last few years, Apple have finally tackled the Timeline. Roles, which have always been at the heart of how FCP X works, are now supercharged. What this means is that it’s more important than ever to assign and use Roles effectively.
To facilitate this, you can now assign custom Roles on import, and you can use embedded iXML data to automatically assign Audio Roles when importing. You can also batch assign common Roles on components of multichannel masters in the Audio Inspector (no need for Role-O-Matic anymore), rename and assign Roles in the Inspector, in the Timeline Index, or by right clicking a clip, or selected group of clips, in the Timeline or Browser.
In short, it is now much easier to assign Roles to clips no matter where you are in the app. Roles are of course searchable in the Index, and you can now search for clip types – Audition, Compound Clip, Multicam and Synchronized Clips.
And something everyone has been clamoring for has appeared… you can assign colors to your Roles too. That’s right, Roles can be assigned different colors from a default palette. Now we can make our timelines look just as hideously colorful as Avid and Adobe!
Kidding aside, it’s good to finally have this option. Any changes to Roles are Library based, if you always want different colors than the defaults, you’ll need to change ’em in each new Library. As always, making a “template” Library that you duplicate to make new Libraries solves this.
One thing you’ll notice is that Roles function a little differently now. Every “Master” Role always has a default Subrole with the same name. Choose “Music”, and your clip will be assigned a “Music-1” Subrole. As in previous versions, you can rename any Subroles and create custom Master Roles. Essentially each Master Role is now the ‘container’ for all the subroles in it’s category, like an audio buss or group. There’s a very important reason for this which I’ll talk more about below…
Timeline 2.0 – The Timeline!
In the default view, the timeline functions pretty much as it always has. The major difference is that Roles will “stick together” as much as possible. You can now re-arrange the Role order in the timeline by dragging them in the Index. I really love this feature.
Default TL Appearance
You can also “Focus” on a Role, which minimizes all other clips to almost microscopic size. The crazy thing is that you can still pretty easily work with these minimized clips. It’s a great feature which makes working on Projects with lots of stacked audio clips really really easy. You won’t be setting any keyframes on the minimized clip the timeline, but you can cut, trim, add Effects and transitions etc. It’s a godsend for people with smaller screens.
Effects Role Focus
One difference you’ll note is that clips may not stack quite as tightly as before. Roles can overlap in the default view, and you can still manually arrange clips around vertically, but a “lower” role will never move higher than any vertically adjacent clip from a higher ‘z-order’ Role.
The other difference is that you can no longer put audio only clips above the Primary. Kind of a bummer, but ya gotta break some eggs to make an omelette right? The various Clip Appearance settings are slightly different as well, cycle through them and check it out.
So… that’s the new default view, but there’s another new view that will blow your mind.
The Timeline Superhighway
Welcome to “Lanes View”. Enabling this in the Timeline Index puts each Role in it’s own separate Lane. It’s a new, powerful way of organizing an NLE timeline, without losing the the functionality of the Magnetic Timeline.
You can choose to show one big lane for each Master Role and all it’s Subroles, or expand the view to show a separate Lane for each subrole. Put one Role in Lanes View and leave the others in default view, or any combination you want. Click the “Show Audio Lanes” button to change the entire Timeline view.
It has the visual utility of traditional tracks, without losing any of the Magnetic Timelines’ utility. FCP X had already made traditional tracks seem obsolete, but now Roles and Lanes View make tracks feel positively archaic. You can flip through all these views in real time during playback of course… it’s really amazing what Apple have done here. Here’s a little animation that cycles through all the views, and reorders some Roles.
The usual suspects will now say “FCP X has tracks!”. But this is not “tracks” at all, it’s an entirely new thing. Sure, you can re-order tracks in other NLE’s, but there is nothing that even approaches what the FCP X timeline can do with Roles and Lanes. Not even close. Seriously. Play with it, you’ll see.
Apply Effects to Compound Clip Roles. (aka groups or busses)
This is a really important new feature. Create a Compound Clip from your Project, select it in the Timeline, and use the “Show Audio Lanes” Button in the TL Index to expand out the individual master roles as clips. You can then apply effects to the Role(s), as well as to the CC “container” itself. Apply a VO preset to a Master VO Role, add some EQ to your Dialogue Role and drop a compressor/Limiter/LUFS Meter on the enclosing CC container for example.
Select the Role (or the Compound Clip) in the Audio Inspector to make adjustments to intrinsic parameters and/or Effects you’ve applied. You can of course adjust levels for each individual master Role as well as the entire CC in the Timeline or Inspector. Essentially each Role in a Compound Clip is like a buss or subgroup that can be treated independently of other Roles and the CC itself. Incredibly useful for mixing and delivery and, if you think about it, there’s a whole world of possibilities this opens up.
As noted above and in the Release Notes, there are many more new features, fixes, and improvements in this version. Way too many for me to go into in this post. FCP X 10.3 is also really fast. It opens faster (the UI appears first now, then the Libraries open), and runs as fast or faster than previous versions for me.
Many of the changes made to the Timeline, Roles, etc. open up some very intriguing possibilities for future updates. Also, the majority of the big changes and additions in 10.3 are squarely aimed at professional users, which is a very good thing.
Hey, maybe people will stop whining about Apple not caring about pros now!… Nah, probably not.😉
Almost more importantly, this version of FCP X is, as usual, a blast to work in. It’s stable, really great to look at, and the timeline view options and other new features are really a joy to use. My advice is to just get it and start poking around, it’s pretty amazing. Open all the Menus, explore the Command Editor… It takes a little while to discover all the new stuff and get used to how it all works, but that’s half the fun!
Should You Update Now?
Yes! With some caveats…
Your existing libraries will be updated in this version. As always, create backup copies before you open them in 10.3. It’s also always a good idea to compress/zip your current versions of the apps just in case. If you’re in the middle of a large job, the old “hold off until it’s done” advice is warranted. That said, I have clearly not heeded that advice.🙂
Every Library I’ve updated – and I’ve updated some very large Libraries – has been fine. Any small issues I’ve run into have been easy to fix. The longer and more complex your Project the longer it’ll take to QC it in the new version but if you don’t mind spending the time, then go right ahead.
Roles in existing Libraries/Projects that are updated may get a little screwy. I haven’t had any problems here, but be on the lookout for this. Using Lanes view and expanding Subroles makes tracking down stray/incorrect Roles very easy though.
As usual, some 3’rd party plugins may have issues. I have, uh… lots of these, and for the most part everything has been fine. I’ve also heard first hand from some plugin developers that things are actually better with this than previous updates, but keep an eye out.
10.3 updates fcpxml to version 1.6, and apps that use fcpxml may not yet work with fcpxml 1.6. You can optionally export fcpxml 1.5 so in theory you should be OK, but the changes in Roles could cause unexpected problems when exporting to the older version. Again, nothing major that I’ve run into, but if you have mission critical workflows that use fcpxml, I’d run some tests to be sure.
Of note… the latest versions of X2Pro and all the Intelligent Assistance apps work with fcpxml 1.6 now. EDL X works fine if you export fcpxml 1.5, and I expect it will be updated soon if it hasn’t been already.
All in all, this is a very significant update, and it’s now apparent why it took so long. If you like FCP X, you’re gonna love it. If you don’t like FCP X, give this version a try, it may just change your mind. Personally, I have a hard time going back to the “old” version of X when I need to, and working with track based NLE’s is now even more maddening.
FCP X has always had features that are unmatched in any other NLE, and this update has pushed it even further ahead of the pack in many ways. The Pro Apps team have obviously been working their asses off on this, and they’ve knocked it out of the park. Send ’em some flowers or something.🙂
After another online “discussion” about FCP X vs. other NLE’s, the usual “You need to do things differently in X than in others” comment from an FCP X proponent came up. The point attempting to be made was that In X you must work in a different way than anything else. “Edit in the browser before you start to edit in the timeline!” In the course of the thread I wrote the reply below. Since I have nothing else to write about right now… here it is.🙂
Telling people that X is a completely “new way of editing” is a pet peeve of mine. (what is a peeve anyway??) It’s not reinventing the process, as editors we are doing the same thing in X as anything else. Watching the footage, making selects, organizing it all, and then cutting pieces together. As we all know, getting all your stuff organized and prepped to cut is something you need to do no matter what you’re cutting with, from flatbeds to an editing app on your phone.
What X offers, IMO, is a different, and easier way of doing the same thing. The Browser, Collections, all the metadata goodies are great of course, but to me, the things that set X apart from everything else are:
The Timeline- being able to just cut stuff in and move clips around without any thought at all as to whether it will collide/overwrite/screw up anything that’s in your cut is a huge advantage.
Embedded Components- much easier to deal with than separate A/V. And you can of course separate these if you want.
Roles- Also huge, particularly for audio versioning, and I feel like there are some very powerful possibilities that remain untapped here.
Compound Clips- Nested clips on steroids, and also have some cool potential.
Motion Templates and Compressor Bundles- Create these in Motion and Compressor, load them into X, done. You can share them with other users who don’t have the apps which is very cool. Compressor bundles don’t get enough press IMO.
Having the ability to make a preset where you can create a 2k, 1080p, 720p and SD version of a cut with a couple keystrokes in the NLE is very nice. You could do all that and also upload a cut to YouTube, Vimeo and Facebook at the same time. Whatever deliverables you need… 1 command, no other apps needed.
Filmstrip View– Nothing else compares to this, it’s an enormous timesaver.
The Skimmer- love this thing, especially clip skimming.
Live A/V Effects Previews- Enormous time saver, and the quality and ease of the built in audio and compositing in X is really great.
Timeline Index- I’m not sure people get how useful this is. I mean, you can do basic editing from the index if you wanted to.
Anyway…. I could drone on and on… My point is that X is an NLE, and like any NLE, you should use all the tools it offers to get your material ready to edit. What keeps me hooked is all the other stuff that really isn’t in anything else. Makes my life much easier. What do you think?
When it comes to color grading, I pretty much have no clue what I’m doing. I bumble around though, and I stumbled on a neat trick. Forgive me if everyone knows about it… When visually comparing two shots, it’s easy if one shot can be loaded in the source monitor so you can check the two side by side. But when the 2 shots are in a timeline, I’ve always been annoyed by needing to click back and forth between them to see whether they match well. I’m probably doing it wrong, but here’s the little trick, courtesy of our friend the skimmer.🙂
Select the clip you want to work on and place the playhead on it so it shows in the monitor and scopes. Then, turn on the skimmer and hover over the “source” clip. You now see your “source” in the monitor and scopes. Then, just hit the S key to turn it on and off, making adjustments to your selected clip. It’s a super fast way to ‘A/B’ shots from the same timeline. See the gigantic gif below for a “demo”. Excuse the blur… top secret stuff! lol
Helpful? Common knowledge? Let me know!🙂
The other day someone was asking (again) about the reasoning behind the FCP X Magnetic Timeline. I started to (again) attempt an explanation, and then realized that about a year ago I wrote an article for The Creative Cow that explains it pretty well. So, because I’ve been busy working and stuff and have nothing new to post, I thought I’d regurgitate the link to the article here, in case it’s of any use to someone. Many of you have probably seen it, but it’s all I got right now.😉
I just re-read it and it’s actually not bad. Maybe someone else wrote it. lol
Click Here or on the pic to check out the article.
Since the day FCP X was launched, it’s been dismissively called a “prosumer” application. The implication being that it is not made for “professionals” to use. Well, I think it’s time to put this BS to bed. First of all, ‘prosumer’ is a noun:
Oxford English Dictionary Definition
An amateur who purchases equipment with quality or features suitable for professional use:
‘The magazine is aimed at the prosumer who uses a $10,000 camera to make home movies of his dog’
Now, it is true that FCP X is probably the most accessible Professional NLE for people who are new to editing. The basic operation is very simple, and can be easily explained to novices. Not so with other NLE’s. At all. From what’s been said publicly, Apple aimed to make a program that ‘democratized’ video editing. And, arguably, they’ve succeeded. But that doesn’t mean that FCP X is not just as good an NLE for “pro’s” as Media Composer, Premiere and others.
Feature Films, Documentaries, Broadcast Television, Commercials, and lot’s of other ‘professional’ content has been, and will continue to be created in FCP X. But there are a lot of people, and companies, with vested interests in perpetuating the perception of FCP X as less capable than other options. And nowhere are these voices louder than in the relatively tiny ‘high end’ market.
I don’t understand why so many pro’s still cling to the inane perception that Apple doesn’t care about them, or that FCP X – and by association FCP X Editors – aren’t capable of doing exactly the same high quality work as anything else. But here’s what I do know…
In Hollywood, we still use EDL’s for turnovers and finishing. In Hollywood, we still need to deliver motion graphics as image sequences rather than just transferring HD 2k or 4k (or whatever) movie files. We still sometimes finish material to tape. Yes, tape! In many ways, people producing hairstyling and makeup tips for YouTube are using more advanced workflows.
Some people don’t want to learn a new program even though it may make their job easier. Some people don’t want to use a program that might reduce their billable hours. Some people don’t want you to use a program that can do things in software that have been traditionally outsourced to them. Some people only want to use what their peers say is ‘good’. And some people don’t want you to use a program that decreases, or does away with, your reliance on their program.
If you’re a producer, FCP X can potentially save you time and money vs. other options. But if you depend on complexity and confusion for your livelihood, I imagine FCP X is seen as a threat.
So complain all you want that it’s iMovie Pro, whine about how Apple has abandoned the high end market, call it a prosumer program. Because name calling and FUD are really the only defense you have.
But… that won’t make FCP X go away. So you might as well just stop.
As anyone who produces content for Broadcast or Theatrical Exhibition knows, there are very strict loudness requirements these days. EBU R 128, ATSC A/85 and CALM Act, and many more. And, as usual, there are lots of Meters and Plugins to help you achieve compliance. The problem is, they either don’t play nice with FCP X, and/or they are very expensive.
I was hunting around for a solution today that wouldn’t drain my bank account, and came across the updated version of Klangfreund LUFS Meter, a formerly free plugin with a lot of great features. I’ve tried a bunch of plugins for this, and LUFS Meter is by far the most user friendly. It’s of course designed for DAW’s, but works in FCP X on individual clips, or on a Compound Clip of your mix.
It’s really easy. Make a Compound Clip of your Project, apply the plugin and choose your setting. Play through once to get an analysis, press the “adjust to” button, export your cut and you’re done.
That said, this plugin is quite deep and has a lot of options and advanced settings, but the basic operation is very easy… Kind of like FCP X.🙂
Press a Button to Make This:
It’s simple, inexpensive and has worked well for me. I’ve found it to be very transparent sonically, though it’s always best if you start with a mix that isn’t as insanely hot as my example above. Even that mess sounded fine after processing though.
If you need to comply with loudness regulations but don’t want to spend a fortune, you should definitely check it out. The full version is $49, a “light” version is $25, and there’s a demo available with a 60 second analysis limit so you can try it out.
EDIT: OK, this thing is seriously cool… check the manual, but you can apply multiple instances of the plugin, and sync them together. So if you had 3 stems (compound clips) DIA/FX/MX, you can apply a LUFS Meter to each stem, assign them to the same sync group, and control them all at once from any instance. Normally all you need is 1 instance for a comped mix, but this feature could be very handy.
I also found out it’s been tested fairly strenuously with FCP X, unlike any other plugins like the that I’m aware of. If you need to deliver compliant mixes from FCP X, you need this.
About a month ago, I posted a little teaser about a “transformation” effect I made in FCP X for the Nine Lives movie campaign. As the spots are now rolling out, I thought I’d post a bit more detail. First, have a look at the effect, it’s about 10 seconds in:
For the campaign, we have 3 or 4 editors working on different spots in Premiere and FCP 7 (yes, FCP 7…) so, for logistical reasons, I cut this spot in Premiere. Trust me, it would have been easier in X for a number of reasons, but that’s another story…
The tricky part of doing 30’s and 15’s was getting the main character quickly transformed into a cat, it’s not a quick bit at all in the film. And, as I was skimming through some dailies in X… I had an idea. “CoreMelt Drive X has a cool Track Sparks Color effect” I thought, “why not incorporate that and make some ‘magic’ in FCP X?”
So… I made a rough version which was cut into some spots that went to focus groups. Audiences liked it. The marketing folks liked it. The director liked it. It was going into everything, so it was time to make a 2k version for finish. All this was done right in the timeline, I never left FCP X. I used Coremelt Slice-X & Drive-X, the built in Keyer, Draw Mask, Droplet and Glow effects.
Replace Purrkins Head
(can’t show the raw footage… sorry!)
I found a shot where Purrkins (Christopher Walken) gestures in a way where he could maybe be throwing something. Great! Well, except for the fact that he was talking while he did it. So… I had to replace Walkens head. I used slice X to cut it out, then placed another part from the same scene -where he wasn’t talking and looked ominous- under the cutout clip.
I resized the shot and keyframed the movement, then put it in a compound clip so I could fine tune the sizing without screwing up the keyframes from the first pass. Got that done, and exported a comped QuickTime master.
Make Brand Disappear
Again, skimming the dailies, found a long take where Brand (Kevin Spacey) is in the shot, then walks out so there’s a “clean plate”. But of course, the camera moved a little bit in the interim. So, I used the free Andy’s better 3D effect to line up the the empty room with the earlier section with Brand in the shot (seen above in the Secondary). Added a soft edge wipe from top to bottom, done. Put the whole thing into a Compound Clip so I could resize it.
Make Fuzzypants Appear
More dailies skimming… I found a shot of the cat sitting on a green cyc. Keyed him over the empty room part of the previous Compound Clip, resized and flipped him, did some tweaks to try to get him to match the scene, and then cut out a section of the empty room to partially obscure him for some depth. Used opacity to fade him in as Brand fades out… done. Made that chunk into another QT master.
Now to make it all work, hopefully… First I took, the 2 QT comps, and used Coremelt Drive-X to track some magical sparks on them. They were thrown by Purrkins, and then come into the next shot and envelope Brand as he disappears.
I then put these clips into Compound Clips, added an adjustment layer in each one, pasted the Drive-X Effect onto these, and disabled the clips from the film. That left me with just the magic sparks effect that I could tweak as needed. I then copied a bit of one clip to make a little sparkle when the cat appears.
Assemble The Parts
Last step was to duplicate the 2 Comp QT’s and stack them. On the top clip, I keyframed a Draw Mask on each clip to open up the area where the effect should travel. I then stuck the “magic” clips in the middle. On the bottom clip I added a keyframed Droplet effect that followed the magic sparks. Lastly I stuck the little spark for the cat on top.
A little tweaking and… OK, a bunch of tweaking. This is for a worldwide campaign so I wanted it to not suck. I don’t think it’s perfect, but I had to stop somewhere… Once I got it looking decent, I exported it as a 2k ProRes 4444 file, and off it went. If you watch tv, use the internet, or go to the movies you’ll be seeing it.
There’s actually a lot of stuff created in X in all the Nine Lives spots that will start appearing everywhere. Some I cut, some were cut by others. I recreated the Europa logo to freeze the goddess and remove her reflection (too distracting). FCP X 3D text, keyer and draw mask made that easy.
Many of the screen replacements for the trailer and in the spots, lot’s of retimed VO etc.
Could I have used other apps for all this? Sure, but why? It was quicker and easier to do all this in FCP X and export as clips that can be used by everyone, regardless of NLE. Everything I need is right in the FCP X timeline.
I would have preferred to cut the spots in FCP X as well, but whatever, I got to do all the fun stuff in it! FCP X is hands down my favorite NLE, but you can do a whole lot more with it than just edit.
Oh, go see the movie, it’s cute and you can safely bring your kids!