-FINAL CUT-

2015 Final Cut Pro Logo.png

.

-as of [5 SEPTEMBER 2024]

.

*OFFICIAL LINK*

.

*30-DAY TRIAL*
*OFFICIAL LINK*

.

(‘final cut pro X’ requires…)

*mac*

.

*macOS*

(10.13.6 or later)

.

4GB of RAM
(8GB recommended for ‘4K editing’ / ‘3D titles’ / ‘360° video editing’)

.

*OpenCL-capable GPU graphics card*

.

*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)

.

*AS OF ’13 SEPTEMBER 2020’*

MacOS 10.14.6 or macOS 10.15.6 or later

.

4GB of RAM

.

(8GB recommended for 4K editing, 3D titles, and 360° video editing)

.

Metal-capable graphics card

.

1GB of VRAM recommended for 4K editing, 3D titles, and 360° video editing1

.

3.8GB of available disk space

.

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

.

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

.

Advanced chroma keying with controls for…

color sampling,

edge adjustments,

light wrap

.

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

.

“LIVETYPE”

.

“COMMANDS”

.

“VIEWER”

.

“CANVAS”

.

“VIDEO FILTERS”

.

“AUDIO FILTERS”

.

*final cut pro 10.2.3*

.

(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)

.

.

“OCTOBER 2010” –>

(purchased it as a $200 add-on program with the ‘imac’)

.

.

*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)

.

*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…

.

.

*👨‍🔬🕵️‍♀️🙇‍♀️*SKETCHES*🙇‍♂️👩‍🔬🕵️‍♂️*

.

📚📖|/\-*WIKI-LINK*-/\|📖📚

.

.

👈👈👈☜*“FILM EDITING PROGRAMS”* ☞ 👉👉👉

.

.

💕💝💖💓🖤💙🖤💙🖤💙🖤❤️💚💛🧡❣️💞💔💘❣️🧡💛💚❤️🖤💜🖤💙🖤💙🖤💗💖💝💘

.

.

*🌈✨ *TABLE OF CONTENTS* ✨🌷*

.

.

🔥🔥🔥🔥🔥🔥*we won the war* 🔥🔥🔥🔥🔥🔥