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I still used FCP7 whenever possible, and luckily I was given carte blanche to use the editing software of my choice on many projects, including on The Fidel Castro Tapes– a documentary for PBS that was nominated for a News and Documentary Emmy in 2014. How and why did my media become corrupt, though? Why did I have to rebuild my database by deleting a strange msmFMID.pmr or msmMMOB.mdb file in the first place? It just didn’t compute with me. The folks were generous with their troubleshooting answers on the Avid message boards, but it left a bad taste in my mouth.

I found my way with Avid, and it did the job, but it’s clunky – I would find myself pounding angrily at the keyboard - and it filled me with dread when I would get strange errors like “Exception: System Error,” “Assertion Failed,” or my personal favorite, “Segmentation Fault” and have to frantically google for possible solutions. I even broke down and used it on a personal project to gain a little more experience. In the meantime, I used Avid on several projects including ones for Discovery and Smithsonian Channel. I had friends who used it to edit web content for a YouTube channel, but without knowing better, I still dismissed it as too prosumer to be taken seriously for professional work. Gradually I started to hear rumblings that some of the initial deficiencies in FCPX were being ameliorated. So I had to learn Avid, and luckily was able to do so on the job in a kind of baptism by fire, thanks to the help and support of the other editors on the show.

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By the time I worked for them on ‘Heist’ in 2013, FCP7 was officially outdated and their post department asked us to edit using Avid Media Composer, which I didn’t happen to actually know how to use. While many moved on, I worked on three separate documentaries for MSNBC in 2012 using FCP7. I remember hearing the reason Apple had to start over – that the infrastructure of the FCP7 software couldn’t handle the processing speed of Apple’s newest Intel microchips or graphics cards or something that totally made sense, but at the same time totally didn’t.

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Within a year, when it became obvious there would never be a Final Cut Pro 8, the NLE community picked up the pieces and moved on, like the crowd at a concert when the house lights come on and it becomes obvious there will be no second encore. The stuff I read on tech blogs and social media compared it to iMovie (the horror!) and was generally dismissive. There was the Conan O’Brien sketch that poked fun at FCPX later that year. The things I’d heard started with the backlash from the Final Cut Pro-loving community in 2011. In the kind of way you do while reading an email. I was to send over my resume, and oh by the way, the executive producers wanted the film to be edited with Final Cut Pro X.

He had been approached about a potential new project – a show about the O.J. It was from filmmaker Tom Jennings, whom I have been working with on documentaries for several years. My experience editing with FCPX started, as so many things do these days, with an email. A great read, we think his story will echo a lot of other editor's experiences. David Tillman describes his journey from being put off by FCPX from the initial scare stories to how he embraced Apple's new generation NLE cutting two high profile documentaries.

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