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-as of [5 SEPTEMBER 2024]–
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*30-DAY TRIAL*
*OFFICIAL LINK*
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(‘final cut pro X’ requires…)
*mac*
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*macOS*
(10.13.6 or later)
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4GB of RAM
(8GB recommended for ‘4K editing’ / ‘3D titles’ / ‘360° video editing’)
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*OpenCL-capable GPU graphics card*
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*Intel HD Graphics 3000*
(or later)
(‘256 MB’ of VRAM (1GB recommended for 4K editing, 3D titles, and 360° video editing),
3.8GB of ‘available disk space’)
(for details, see minimum system requirements)
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*AS OF ’13 SEPTEMBER 2020’*
MacOS 10.14.6 or macOS 10.15.6 or later
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4GB of RAM
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(8GB recommended for 4K editing, 3D titles, and 360° video editing)
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Metal-capable graphics card
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1GB of VRAM recommended for 4K editing, 3D titles, and 360° video editing1
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3.8GB of available disk space
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Some features require Internet access
fees may apply.
Blu-ray recorder required for burning Blu-ray discs.
Import, edit, and share 360° video from equirectangular images stitched together from a wide variety of cameras
Send your iMovie for iOS project directly to Final Cut Pro for advanced editing, audio work, and finishing
Generate proxy media in custom frame sizes from 12.5% to 100% of the original in ProRes Proxy or H.264
Automatically display the most useful functions for your task using the Touch Bar on MacBook Pro
Support for standard Rec. 709 Standard Dynamic Range (SDR) and Rec. 2020 High Dynamic Range (HDR) in libraries and projects from camera import to delivery.
Edit and share Rec. 2020 PQ and HLG
Range Check shows which areas of an image are out of color gamut
Camera Look Up Tables (LUTs) automatically applied to footage from select
ARRI,
Sony,
Panasonic,
and Canon cameras
including
ARRI Log C,
Canon Log
2/Cinema Gamut,
Panasonic V-Log,
Sony S-Log2/S-Gamut,
and Sony S-Log3/S-Gamut3.Cine
Import third-party camera LUTs and apply to source clips in the browser for use without rendering
Adjust ProRes RAW camera settings such as
ISO
color temperature
exposure offset
using controls in the inspector
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Monitor full-quality video up to 6K with Pro Display XDR.
External monitoring of video with third-party Thunderbolt and PCIe devices, or via HDMI on select Mac computers2
64-bit architecture to take advantage of more than 4GB of RAM
Background rendering using GPU and CPU
ColorSync-managed color pipeline
High-precision floating-point render in linear-light color space
Uses Grand Central Dispatch to tap into all available processors
Full-screen, real-time preview playback of SD, HD, 2K, 4K, 5K, and larger-frame-size media
Customizable keyboard
Full Unicode support
GPU-accelerated exporting
360° viewer allows navigation in 360° while also viewing the equirectangular file side by side
Large browser for titles and generators
Custom Motion templates can be saved with the library
Option for continuous playback of clips in the browser
Timeline Index enables vertical rearrangement of roles and display of expanded channels
Create, rename, and change clip colors for roles and subroles
Read iXML metadata from audio clips and use them to automatically create and name roles
Automatically create custom roles during import or voiceover recording
Assign roles in the browser, timeline, or inspector
Enable individual audio role lanes or all audio lanes in the timeline for more fluid audio editing
Focus button minimizes all but one role to reduce visual timeline clutter
Create and manage unique roles per library
Copy and paste timecode
Search for custom metadata in the browser or timeline
Search Timeline Index for Auditions, Compound Clips, Multicam Clips, and Synchronized Clips
Multicam editing with automatic sync and support for mixed formats, mixed frame rates, and up to 64 camera angles
Magnetic Timeline automatically keeps material in sync, prevents clip collisions, and eliminates gaps
View audio clips as separate, visually distinct lanes in the timeline automatically arranged based on their role assignments
Resizable floating timecode window shows project timecode and color-coded source timecode for all clips beneath the playhead
Clip Connections keep secondary material in sync while trimming and moving the Primary Storyline. Press a modifier key to keep connected clips stationary while slipping, sliding, or moving clips in the Primary Storyline.
Compound Clips allow complex compositions to be simplified into a single clip. Compound Clips are automatically saved to the browser for easy reuse, and changes to Compound Clips actively update in all projects where they have been used.
Auditions combine multiple clips into a single clip to see alternative takes, color grades, or effects in context
Duplicate a clip inside an Audition for comparison of different effects on the same clip
Edit while importing media in the background from multiple sources
View material in Filmstrip or List view with a mini-filmstrip and metadata columns
Skimming functionality enables fast viewing of large amounts of material
Create projects with custom frame sizes
Mix frame sizes, frame rates, and formats in the same timeline — with support for 8K resolution and beyond
Automatically transform projects for square or vertical delivery with Smart Conform
Edit at 23.976, 24, 25, 29.97, 30, 50, 59.94, or 60 fps
Create the correct project setting with the first edit
Snapshots enable quick copies of a project for versioning
Insert, Overwrite, Replace, Append, and Connect with keystroke or drag and drop
Extend edit to Skimmer position
Split edits with J and L cuts in the timeline
Blade audio in J and L cuts
Dual viewers for matching action between source material and edited timeline
Direct access to Photos, Logic Pro X, GarageBand, and Music through media browsers
Timeline Index for timeline navigation and the selection of items based on text searches and other important metadata
Position tool for moving and deleting media in the timeline and leaving a gap
Clip Markers that include to-do items that can be checked off when tasks are completed
Snapping to Playhead, Skimmer, Clips, and Markers
Replace with Gap
Lift from Primary Storyline
Create Storyline to consolidate B-roll into a single unit
Insert Placeholder
Insert Gap
Numeric entry of precise clip durations
Blade tool and Blade All command for adding edits
High-quality Standard Dynamic Range (SDR) and High Dynamic Range (HDR), real-time vectorscopes, waveforms, and histograms for both viewer and Event viewer.
Vertical placement of scopes below viewers optimizes onscreen space.
Record Audio tool for adding narration includes a countdown and the option to record multiple takes into Auditions
Six Clip Appearance presets for timeline display
Multi-Touch gesture support
Organize, view, mute, and export based on automatically assigned or custom roles metadata
Customize project start time
Join Through Edit command removes bladed cuts in the timeline
Indicator dot on playhead can be used for autoselection of effects
Use multiple presets or configure window layouts into custom workspaces for tasks like organizing and color grading
Batch share to quickly transcode multiple clips in the browser, with or without a camera LUT
Batch share to export multiple projects to multiple formats
Roll Trim between two adjacent connected clips
Inline Precision Editor allows skimming of used and unused media around edit point, as well as trimming to Skimmer with a single click
Basic timeline trimming
Trim tool for advanced timeline trimming functions
Trim Start, Trim End, or Trim to Selection in a single keystroke for fast news and documentary editing
Ripple and roll
Slip and slide
Lift and ripple delete
Dynamic 2-up trimming with Show Detailed Trimming Feedback enabled
Keyboard and numeric moving and trimming
High-quality, drag-and-drop noise reduction effect reduces or eliminates grain and video noise
360° titles, generators, and effects including the 360° Patch and Tiny Planet effects
HDR Tools effect lets you easily tone map HDR to Standard Dynamic Range (SDR) output as well as convert between PQ and HLG formats
LUT effect can import third-party 3D LUTs
Flow transition seamlessly smooths jump cuts
Remove Effects and Remove Attributes commands
Timecode effect and generator to display source clip name and source timecode
Beautifully animated and easily customizable 3D titles with hundreds of combinations of materials, lighting, and edges
Cinematic 3D title templates with built-in backgrounds and animations
Large collection of 3D text styles to create stunning looks in one click
Apply superellipse Shape mask to any clip
Customizable Default Effect lets you choose a video and audio effect that is assigned to a keyboard shortcut
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Advanced chroma keying with controls for…
color sampling,
edge adjustments,
light wrap
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Drop Shadow includes intuitive onscreen controls and automatic orientation adjustment
Shared Render Engine with Motion and Compressor
Add multiple effects and transitions within a range selection
Multistream real-time effects in high resolution formats
Alpha-channel support in real time
One-step freeze frame creates a still frame and adds it to the timeline
Integration with Motion for advanced motion graphics work
Use “Open in Motion” on any effect, modify in Motion, and save as new in Final Cut Pro
Access music, sound effects, transitions, filters, color looks, and generators through media browsers
Over 176 advanced 2D and 3D title templates
Over 95 high-quality transitions
Over 125 sophisticated animation templates with video drop zones
Over 113 filters, keys, blurs, and color looks
41 backgrounds, elements, solids, and textures
Apply Draw mask to any clip with options for linear, bezier, and B-spline control point smoothing
Shape and Color mask controls for every effect with one-click display of alpha channel
Save custom effects as presets for quick access
Numeric and keyframe control for precise animation and effects
Multiple keyframe selection, copy, paste, and move in the timeline
Selectively paste video and audio effects to multiple clips using Paste Attributes interface
Trim, crop, and Ken Burns effect
Distort tool with keyframes and onscreen controls
Transform tool with keyframes and onscreen controls
Stabilization effect in real time after background analysis
Intelligent image stabilization with InertiaCam and Tripod mode
Rolling Shutter correction to improve DSLR video
Spatial Conform to make different aspect ratios fit into a project seamlessly
Retime bar for speed changes on entire clips or selected ranges
Enter exact percentage or duration for retiming effects and choose to ripple or leave the timeline length the same
Blade Speed function enables precise speed changes on a single clip
One-step Replace with Retime to Fit
Three Retime quality settings: normal, frame blending, and optical flow
Preserve audio pitch when changing speed
Find and Replace Title Text
Show Title/Action Safe Zones for positioning titles and effects
One-step transitions for Secondary Storylines
Automatic Speed to change source media frame rate to the project frame rate in one step
Adjust audio using effects plug-ins from Logic Pro X with redesigned, resizable interfaces
Large Music and Sound Effects browser allows skimming and selecting of clips
Voiceover tool automatically assigns a user-selectable role
Use Compound Clips to add audio filters or make volume adjustments to an entire role
Multichannel audio editing for adjusting individual audio channels in the timeline, with ability to assign roles to channels
Subframe audio keyframing
Support for audio samples up to 192kHz
Real-time macOS Audio Units and Logic plug-in effects included
Support for 64-bit third-party Audio Units plug-ins
Crossfade audio in one step using a menu command or keyboard shortcut
Keyframable audio levels and effects
Adjust audio filters in real time during playback
5.1 surround monitoring and keyframe control for panning
Preset animations for 5.1 surround panning such as Back to Front, Rotate, Create Space, and more
10- or 31-parameter EQ built into each audio clip
Match Audio for smoothing out EQ from different microphones
Audio enhancements for volume normalization, background noise removal, and hum removal for both 50Hz and 60Hz
Audio analysis during import option to remove serious background noise and flag medium-level issues for enhancement
Over 1300 royalty-free sound effects included as a separate download
Individual audio channel control for enable/disable and configuration
Audio skimming with pitch preserved
Fade handles at the head and tail of each clip and individual audio channel in the timeline
Audio pan controls
Disable and solo controls
Audio waveform display in viewer and timeline
Logarithmic audio fades
More than 100 audio filters
“Show Reference Audio Waveforms” preference to see original waveform height when adjusting volume in the timeline
VU meters that expand as needed
Color wheels with integrated sliders to adjust hue, saturation, and brightness
Color curves enable ultrafine adjustments using multiple control points to change color and contrast
Hue/saturation curves let you select a specific hue or brightness level to make adjustments while leaving other parts of the image unchanged
Comparison Viewer lets you reference other frames for accurate and consistent color grading across your timeline
Balance Color command includes an eyedropper for manual white balance
Adjust color corrections over time with precise keyframe controls
Unique Color Board with controls for saturation, exposure, and color
Match Color for precise shot matching in one click
Balance Color instantly improves skin tones, removes color casts, and expands dynamic range of bright and dark regions of the image
Keyframable masks with size, rotation, and softness adjustments
Adjust the interaction style between masks with add, subtract, or intersect settings
Adjust inside or outside of color mask
Unlimited numbers of color corrections per shot
Save and reuse color settings presets
20 Color Board presets
Over 20 advanced color Looks in the Effects browser
Supports real-time Look Up Tables (LUTs) from the latest pro cameras from ARRI, Canon, Panasonic, Blackmagic Design, and Sony
Import and export captions in CEA-608, iTT, and SRT formats for compatibility with a wide range of workflows and websites
Burn in captions to embed text into a video, serving as subtitles that will play on any television worldwide
View captions directly in the viewer
Adjust text, color, onscreen location, and timing
Create captions in multiple languages in the same timeline
Captions roles enable fast switching between different versions of captions
Search text and select single or multiple captions in the Timeline Index
Captions automatically move with the clips to which they are connected
Validation indicator instantly warns about common errors including caption overlaps, incorrect characters, invalid formatting, and more
Embed captions in the exported movie file or create a separate caption sidecar file
Send your project to Compressor in a single step to include captions in an iTunes Store package
Instantly extract captions from video clips to view and edit the captions directly in Final Cut Pro
Share captioned videos directly to YouTube and Vimeo
Import, playback, and editing of High Efficiency Video Coding (HEVC, also known as H.265) video clips and High Efficiency Image Format (HEIF) photos from Apple devices
“Send to Compressor” to export video projects in the HEVC format
List view in import window allows you to select clip ranges before importing
MXF-wrapped ProRes provides a new broadcast standard
Export a project as an MXF Master File and use audio roles to control audio channel layout to match industry-standard broadcast delivery requirements
Export AVC-Intra files
Both XML 1.9 and XML 1.8 support drag-and-drop import or export of clips, projects, and events with supported third-party applications
Single interface for importing from cameras, drives, network locations, and camera archives. Browse media in List view or Filmstrip view, and save Favorite locations on networks and volumes when frequently importing from the same places. The import window consolidates media management, keywording, transcoding, and image analysis options into a single sidebar.
Apple ProRes family,
a 10-bit, full-width VBR codec that supports all major frame sizes and frame rates from ProRes 422 Proxy to ProRes 4444 XQ,
with ProRes Log C from cameras including ARRI AMIRA and ALEXA
Use ProRes RAW to import, edit, and grade pristine footage with RAW data from the camera sensor.
Work natively with ProRes RAW or ProRes RAW HQ files created by Atomos recorders and DJI Inspire 2 drone.
Custom frame sizes for projects with frame size presets available up to 8K
Background transcode original media to ProRes 422, ProRes 422 Proxy, or H.264 for better performance
Create Camera Archives from any folder of media for importing into Final Cut Pro
Import Camera Archives from third-party video capture cards and software
Import video and photos from iOS devices
Import projects and events from iMovie
PTP support enables import of photos and videos directly from DSLR cameras
FireWire device control for streaming capture for tape-based HDV, DV, DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD
Share interface includes export presets and ability to create custom export destinations; create a bundle to deliver to multiple destinations in one step
Share 360° video directly to YouTube and Vimeo
Export presets up to 4K resolution for Apple devices including Apple TV, iPhone, iPad, and Mac
Export interlaced H.264 video from interlaced timelines
Upload directly to YouTube and Vimeo at resolutions up to 4K
Prepare files for Facebook to upload via the Facebook web page
Upload directly to Vimeo, Youku, Tudou, and email at resolutions up to HD
Export and burn DVD, AVCHD disc, and Blu-ray disc4
Create Chapter Markers for use with DVD, Blu-ray disc, and QuickTime files
Adjust poster frame separately from marker location
Apple-designed menus for DVDs and animated menus for Blu-ray discs
Export as Image Sequence
Export as HTTP live streaming for Internet streaming to cellular, Wi-Fi, and broadband
Export audio as AAC, AC3, AIFF, CAF, MP3, and WAV files
Import and edit layered Adobe Photoshop files
“Send to Compressor” uses GPU rendering with support for dual GPUs
High-quality H.264 export uses CABAC entropy mode for multipass encoding
Monoscopic and stereoscopic 360° video
MXF-wrapped media
H.264 from DSLR, GoPro, and iFrame cameras and drones
DV, DVCAM, DVCPRO, DVCPRO 50, and DVCPRO HD
HDV
Panasonic AVC-Ultra, including AVC-Intra 4:4:4 at 2K and 4K frame sizes, AVC-Intra 200, AVC-Intra 100, AVC-Intra 50, AVC-LongG, and AVC-Intra LT
Sony IMX, XDCAM, XDCAM EX, XDCAM HD, XDCAM HD422, XAVC, XAVC S, and XAVC-L including XAVC-L at 4K
Canon XF MPEG-2 (additional Canon software required when using Final Cut Pro version 10.3.4 and earlier)
Canon XF-AVC from Canon XC10 and C300 Mark II cameras (additional Canon software required when using Final Cut Pro version 10.3.4 and earlier)
Support for Canon Cinema RAW Light format with additional software from Canon
JVC-created XDCAM EX
JVC H.264 Long GOP
AVCHD, including Panasonic AVCCAM and Sony NXCAM
REDCODE RAW (.r3d) files up to 8K with additional software from RED.
Optional background transcode to Apple ProRes 4444.
GPU-accelerated playback, transcode, and render with support for dual GPUs and RED ROCKET card.
Uncompressed 8- and 10-bit SD and HD
Apple Intermediate Codec
MTS files from AVCHD cameras
Still images including PSD, BMP, GIF, RAW, JPEG, PNG, TGA, and TIFF
Compressed audio including AAC, AIFF, CAF, MP3, MP4, and WAV
Broadcast Wave Format
SDII audio files
Portrait/landscape metadata in still images
XML import and export for collaboration with third-party finishing tools and media asset management systems
XML interchange supports Metadata views that can include standard metadata fields like scene, take, and reel along with custom fields
Support for NFS-based libraries and media
Access libraries from SMB shared storage
Content Auto-Analysis attaches useful metadata during import
Range-based keywords for creating custom searchable metadata
Create Smart Collections for automatically organizing clips based on selected criteria
Automatically generated Smart Collections for every new library
Keyword Collection created by importing a folder of media
Preserve multiple range selections in the browser and maintain multiple selections on a single clip
Mark ranges as Favorites or Rejects for sorting and sifting
Used-media indicators on source clips in the browser
Automatic library backups can be saved to a user-defined location
Render file deletion per project
Merge Events function
Easily edit across and copy between libraries
Consolidate Library to move media to another system or for archiving
Create a proxy-only copy of a Library for portability or performance
Extensive search, sort, and sift capabilities in the browser
Transcode Media function offers a choice between optimizing to ProRes 422 or creating ProRes Proxy media in the background while editing.
Native RED RAW files are optimized to ProRes 4444.
Media relink to manually connect projects and events to files that have been moved or modified
Batch rename clips based on metadata from Clip Info, Date/Time, Format, or Camera Info with custom naming presets
Group clips by role, creation date, date imported, reel, scene, duration, or file type
Group events by year or by year and month
Show date ranges in the Event Library
Arrange clips by name, take, or duration
Reveal clip in Finder or browser
Custom comment fields
Preference for connecting to proxy or original high-resolution media
Original source clips, optimized and proxy media, and render files can all be stored outside the library in a user-defined location
Save libraries to connected volumes or directly on Xsan
Options to delete optimized media, proxy media, and render files per event, or delete render files per project
Events can be sorted by date or name in the Library sidebar
Use powerful third-party tools from within the Final Cut Pro interface
Extensions include tools for review and approval, large-scale media asset management, stock media, and more
Connect to existing extension accounts, which can then be viewed and managed through Final Cut Pro
Navigate projects from within the extension window
Drag and drop clips from the extension window into the browser or timeline and vice versa
www.apple.com /final-cut-pro/specs/
Final Cut Pro X – Technical Specifications
24-31 minutes
Final Cut Pro
Motion
Compressor
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*final cut pro 10.2.3*
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(released ‘4 february 2016’)
*final cut pro 10.1.4*
(released ‘2 december 2014’)
$299.99
FILE –> NEW
NEW PROJECT
NEW EVENT
NEW LIBRARY
(create new project)
(create new event)
(drag + drop media files into event screen)
final cut express version 4.0.1
(2007 – 2008)
Product: Final Cut Express 4 – Retail
Serial Number: E-113-GAV-184-QNY-333-DDT-170-SCY-WFY-Z26X
the VTR (video tape recorder) videotape control engine*
(pipeline digital)
(final cut express does not read “lowercase” mp4 files)
(change them to uppercase mp4 files)
(i discovered this while trying to upload video files from saint nick’s iphone in may 2014)
(same problem with homefries’ videos)
safe RT vs unlimited RT
(RT = realtime)
(safe RT gives you blue “unrendered” screen)
error messages:
“the effect _____ cannot render this media at full resolution. the media will be scaled at 2048×1152 in order to render”
the longest one can stretch photos is 1:10:03???
that negative reinforcing “bleep” when you attempt the seemingly impossible…
edit –> linked selection
(to link/unlink video/audio files)
render mp3 before they play
(sequence –> render)
render video/audio before export
file –> export
3 options:
quicktime movie
using quicktime conversion
for livetype
paste attributes
(that’s gonna be helpful!!!)
(to carry over effects settings to a different clip)
Andrei Alexandrescu (Loki)
3 media types: native / optimized / proxy
(proxy recommended?)
go to final cut preferences –> playback
(prores 422 proxy)
(better than “optimize” which is merely prores 422)
(advantages: less storage space)
boost.org (boost software)
(C++ library)
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“OCTOBER 2010” –>
(purchased it as a $200 add-on program with the ‘imac’)
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*SUMMER 2014*
now i edit in final cut express…
i’ve finally begun to streamline my clips into disciplined sequences under 8 categories…
SOUNDBITES
(audio clips)
LOGOS
(promotional clips)
DOCUMENTARIES
(documentary clips)
SCREENSHOTS
(outside media clips)
ART
(art clips)
JOGALIVE
(performance clips)
STARLIGHT BRIGADE
(sex clips)
MUSIC VIDEOS
(complete projects)
since i usually have all 7 programs open at once, the computer delays for ~30 seconds if i return to final cut from another window…
i need to get all my file pathways in order (ideally all rooted in master external hard drive(s))…
now i’m running into problems with codecs not being available…
(this seems to have to do with an inability to read certain .jpg files)
fonts not available…
(i save livetype projects under a new name and reconnect media)
(this seems to solve the problem)
“error: out of memory”
(when i try to render videos)
(another problem with reading images?)
(should i just try to export the videos without first rendering?)
(will this work?)
(even if it does it will take awhile)
make sure to regularly delete your render files to save room on your hard drive)
(although this means if you want to use the clips again you will have to re-render)
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*3 november 2014*
i realized that i can’t make such large final cut projects or it will slow down my progress…
learned this the hard way after leaving the computer running (without sleep or screensaver) for over a week…all the while working on heavy-duty audio + video editing in cubase + final cut…during a dual audio + video export cubase crashed and i wasn’t able to trash the unfinished .wav file…and finder wouldn’t relaunch…and the computer froze on a blue screen with spinning wheel when i attempted to restart…after a hard restart i realized that 4 of my main final cut projects were unreadable (including my “music videos” project)…should’ve backed them up…as it was the autosave feature in final cut saved recent versions for all 4 corrupted projects…but for some reason i was unable to open the previous versions of the “music videos” projects (going back over a month)…even though i did a clean shutdown of final cut before restarting the computer…seems that the computer is confusing the final cut project with a corrupted .rtf file…i think my only hope is to delete my master account for the computer and reconnect all the media…why bother?…from now on i’m going to save smaller projects in specified folders…at least i won’t feel compelled to use sloppy video footage from the past…but i’m also losing months of video editing…oh well…
come back stronger…
*final cut pro 10.0.5*
(edited in final cut professional X on up-to-date imacintosh apple computer)
(21 june 2011)
($299.99)
(motion 5.0.1 / compressor 4.0.1)
(20 september 2011)
($49.99)
(animation / DVD conversion)
i downloaded a 30-day trial after my imac hard drive crashed in june 2012. the program had been released on 11 june 2012 (or 21 june 2012?)
i found a completely new interface to that which i was used to in my “final cut express” i’d been working in since october 2010. it seemed based on the free apple software “imovie”.
(bad reviews?)
it costs $299.99
(aka $300!!!!)
motion 5 ($50) / 5.0.2 (31 january 2012)
compressor 4 ($50) (4.0.3) / (10 april 2012)
new rainbow logo…
(removed the “eye” clipboard logo)
(2001 – 2012)
at least final cut pro trial isn’t turned off (YET)
i’ll have to try to get my final cut express back (in the meantime, work in imovie)
(i bet imovie projects can be opened in final cut pro X)
the final cut pro X program stayed in operation past the 30-day trial as long as i kept it open…
but finally my computer crashed a few days later and i was back to using imovie…
it took me until late 2012 / early 2013 to finally get the apple corporation to mail me a new installation disc for final cut express…
it was on record that i had purchased the program back in october 2010…
final cut froze when i was trying to reconnect media…
that was weird…
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*👨🔬🕵️♀️🙇♀️*SKETCHES*🙇♂️👩🔬🕵️♂️*
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👈👈👈☜*“FILM EDITING PROGRAMS”* ☞ 👉👉👉
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💕💝💖💓🖤💙🖤💙🖤💙🖤❤️💚💛🧡❣️💞💔💘❣️🧡💛💚❤️🖤💜🖤💙🖤💙🖤💗💖💝💘
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*🌈✨ *TABLE OF CONTENTS* ✨🌷*
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🔥🔥🔥🔥🔥🔥*we won the war* 🔥🔥🔥🔥🔥🔥