LIBRARY: Tutorials Reviews Interviews Editorials Features Business Authors RSS Feed

FCPX For Broadcast News

CreativeCOW presents FCPX For Broadcast News -- Apple FCPX Techniques Editorial All rights reserved.

Michael Garber has spent hundreds of hours learning the ins and outs of editing broadcast news features with Final Cut Pro X. He describes a workflow that takes advantage of the best that FCPX's new approaches have to offer, while being honest about its limitations. Every editor already working with FCPX, or still just considering it, will benefit from Michael's experience.

When I was 16, I knew I wanted to be "in entertainment." That, of course, can mean anything. My father was a friend with one of the co-anchors at what was then the local CBS affiliate, WJXT, in Jacksonville, FL. As I was trying to decide what I wanted to do for my career, he kindly let me sit in for an afternoon to watch how the evening news was put together.

While there, I had the fortune of meeting an old-school tape editor named Larry Dickerson. I marveled at how quickly and precisely he chose shots on his Sony RME-450. He edited to the rhythm of the unrecorded news reporter's voice, which he knew like an old song. His style as an editor was staccato, fast, and involved a lot of snapping. It was exciting to watch, especially since the piece was airing minutes after he finished it and the co-anchor would be doing the VO live on air. This moment in time has stuck with me to this day.

I've been cutting news stories for different PBS shows since 2003. While it's not my main gig, I've retained one client, Saul Gonzalez, a news reporter and producer, for ten years. He's incredibly talented and is always interested in going the extra distance with his stories. He's also a great writer, which is so important in crafting a good news story -- and it makes my job as an editor not just easier, but a lot of fun.

I had my workflow down to a science in FCP7. In the beginning, it was a pain moving over to X. But, in time, I created a new workflow, which has benefits that are unique to FCPX [Ed. note: Michael is using FCPX 10.0.8] -- and, here, I'll share them with you.

Saul comes from the established ENG world: Shoot, screen your footage on a logging station, transcribe your interviews, log timecode interview selects and b-roll selects, and then write a script. Having all this work done before the edit session is key to efficient cutting.

Once the script has been approved, I'll get TC in and out points for the interviews. Saul lets me know which areas of b-roll to cull from. But the actual shot choices are generally up to me.


We have two days to edit an up-to-10-minute segment. This has become the ideal amount of time, as it allows us to spend a little extra time fine-tuning the details, color correcting, and balancing audio. Generally, it's a very full two days.

First, I launch Event Manager to create a grouping for the show I'm working on. Since I already have one set up, I choose "Religion & Ethics." Now I'm just focused on that set of Events and Projects in X. I have my countdown, slate, and basic keywords pre-loaded.



I select the template event and hit CMD-D to duplicate the event onto my work drive, which is labeled 5WE 6TB. You can also opt-click and drag the event onto the work drive. I then rename the event based on the name of the story.

The footage I receive is usually in great shape. But sometimes there can be issues. In this scenario, the P2 camera was set to span all clips, so FCPX (and every other NLE for that matter) wanted to bring them in as long clips. Essentially it saw each P2 card as its own tape with all the separate shots joined together.

In the old days, I'd place the fully captured tapes in separate timelines and cut out sections I'd need from there, separating selects on V2.

I don't want to work with spanned clips in FCPX because of the skimming and keywording features. I've determined that finding shots is easiest when they are captured as separate clips (DSLR-style), which is pretty typical these days.

I try not to spend too much time fussing about these roadblocks. The editing process needs to move quickly and I want to maximize my time spent in the timeline.

For this particular workaround, I had to encode one card at a time. After each reel was brought in, I quit and restarted FCPX, which flushed its memory of what reel was previously brought in -- thus allowing for separate clips. In the end, I couldn't avoid some spanned clips, but overall, it was enough to allow me to work efficiently.


Once the media is in, I perform a batch clip rename. This is based on an abbreviation for the story and the reel name followed by a counter.




Then, I keyword. Most of this has been covered on the FCPX forums here and is where I've learned how to keyword. (Thanks Tony, Bill, Oliver, and Jeremy, et al!)

My keywording strategy is to work in passes. I start with general keywords and then go back for more specific ones. The first three keywords I add are "NAT-SOT," "Interview," and "Standup." Since I already have these in my template, I simply drag selections of clips into these categories.

Then I go for my secondary pass with more refined keywords such as "name of location," "name of person," "signage," etc. It doesn't need to get too complicated for this type of work. I prefer to work in filmstrip mode with the clips minimized (shift-z to minimize or "fit all").


Next, I add roles. This takes the place of panning the b-roll and interviews to the left and VO to the right (the "old" way).

All interviews get an INT audio role. B-roll gets a NAT/SOT role. VO gets its own role. I do this so that I can export a multi-track QT in the last step. This ensures that the network can repurpose the b-roll for future news stories without interview audio or VO overlapping.



It was an "aha moment" when I figured it out, and it's a great way to separate the channels and not pan the audio. It's key to working with audio in a trackless environment. But, Apple, please create some way to organize roles in the timeline!

Now, if I ever need to add music to a news story, it can actually air in stereo, as opposed to panning it off to one channel. I just have to remember to set roles at the beginning. It's such a new addition to my workflow that I often forget -- especially if I get new footage in the middle of an edit session. (Maybe writing an article about it will help me remember?)

After the footage has been organized, I focus on the VO. We used to record the VO at my office, but today, Saul records it at home on his audio recorder with a good mic or at a separate recording studio and emails it to me. Since I used to have a TC selects list of best VO takes, reviewing the VO takes a little longer than it used to because I'm screening it for the first time.

The file comes to me as an MP3. Once imported, FCPX automatically converts it to an AIFF in the background. I love that.

A typical VO strategy in FCPX might be to favorite the ranges of VO and then edit those favorites into your timeline. I decided against favoriting VO selects as I find it much easier and more precise to pre-edit them in a timeline. This is based on my FCP7 workflow. I will always need to remove a loud breath and cut a few different takes together. I like to be precise with the VO edit, and I need the flexibility of the timeline for this.

I create a new compound clip and add the VO to the timeline. All VO and VO compounds go under the keyword... wait for it... VO.

My trimming strategy is to watch the audio waveforms during playback and hit CMD-B to blade the in and out points. Then, I hit LEFT ARROW, C to select the clip, and CMD-OPT-UP ARROW to move the clip out of the primary.


Now that we have the ability to edit audio down to the sample, I can easily remove a breath, a vowel, or a word. I'll cut these out of the primary storyline so that I don't change the overall length of the original VO. If the clip needs a dissolve or a gap, I'll turn them into a secondary storyline. This has a nice side effect in that it keeps the particular sound bite as a whole unit, representing the graph of narration it came from in the script.


Now that the VO is cut down, I select all the connected clips and secondaries. They get copied and pasted into the main timeline.


When I was first testing FCPX, I tried editing with the audio in the primary storyline since the VO is literally the spine of the story. I found that this method doesn't work in news editing because you can't edit with the keyboard-only outside of the primary.

Now on to editing! I like to start with the interview clips. This method has two benefits. It brackets the B-ROLL sections and it will provide me with the length of the project. We'll know early on how many minutes need to be cut.

When I'm working with interviews, I'll generally move between filmstrip view and list view in the event browser so that I can see what timecode the clip starts at. It's also easier to skim longer interviews when in list mode.

It would be nice to see TC on clips somehow when they are in filmstrip view. It would also be nice to have a better HUD for TC in X. I'd love for TC to be a metadata switch so that you could turn on burn-in TC through the info-pane. That would be a huge time-saver.

With all the VO in the new timeline, I insert edit (W) in all the interview bites into the primary straight from the TC labeled in the script. These "w"edge (thank you, Steve Martin) between the VO segments and when complete, shows me both an approximate length of the story and also shows me how many b-roll sections I need to fill.

If there are a lot, then I know I need to show up an hour early the next morning. Otherwise, it'll be a normal second edit day.


Ok! It's 9AM on the second edit day. This day is all about b-roll and being creative.

Going back to what I learned at WJXT, I keep things moving quickly as there's a lot to fill and limited time to do it. Now that I have good keyword collections and I'm familiar with the footage, I can work efficiently. The skimmer and event browser are a great benefit here.

I have to work fast, so I have learned to edit "instinctively." It's about working with my knowledge of the footage from the previous day in tandem with an instinctual understanding of how the cuts should look and perform when placed against the VO. It's based first on content and then on what is available. In the best case, the shots follow a certain rhythm or flow, which comes from the motion of the shot, position of interview subjects, framing, and more.

Ultimately, Saul is the man with the plan and it's great to have the time to sit down together so that we can fine tune the edit. I work alone from 9AM until about 2PM when Saul comes in to screen the first pass of the cut. We'll usually lock the cut by 4:30PM.


I wrap up with audio mixing and color correction. It's always a balancing act (pun intended) trying to get the VO at the right level when mixed with the NAT sound.

Going back to my first time in FCPX, I was confused because the meters go +6. But after testing levels on my analog meter and in FCP 7, I figured out that dialogue should still land between -12 and -6 for broadcast.

Next, I add an adjustment layer and throw two separate Broadcast Safe filters on - one for chroma and one for luma. (Apple, please allow the broadcast filter do both so I don't have to add two filters.)


Adjustment layers can be created as a template in Motion. I downloaded mine from the App Store for free. There are lots of them available online and can also be created in Motion on your own.

In my last step before exporting, I open the timeline index and check that I have properly set all the roles on all the different kinds of clips.


From there I share the file to a private Vimeo page for Saul to review and I also export the QT file at XDCAM HD with audio roles on separate tracks tracks. The client would prefer Prores, but I need to get the file as small as possible since I'm hobbled by a slow Internet upload speed.

I upload it to WNET's server. Four to five hours later, the edit is done! And no, I don't charge for upload time. Oh, Google Fiber, where are you when I need you?

In my most recent edit session, we needed to re-track some VO after the first cut had been reviewed. Saul recorded in a different room and the EQ of the new VO was a lot different than the original. Since I'm not a sound mixer, I was presented with a challenge.

I have no budget or time to send this out to a mixer to EQ the audio. In this case, FCPX's audio EQ match filter actually worked. The trick was that I needed to make a compound clip of the sections of new VO and then add the filter.


I feel very fortunate to have straddled three generations of editing while I was learning how to work as a professional editor. Going way back to the sound of a splicer whacking a frame mixed with the ballet-like movements required to perform a single film edit to the snapping of Larry Dickerson's experienced fingers and the click-click, cachunk-cachunk, whirrr of the BetaSP decks performing an assemble edit, more than anything it's the rhythm of our work as editors that has changed.

So, why did I move to FCPX if my workflow in FCP7 was spot-on and time-tested? The answer: it's complicated.

For me, figuring out this new rhythm has taken some time and it's still changing as FCPX evolves. We're in an era of perpetual change. And, just when everything settles, it'll all change again! The key to success lies in how we adapt to change, and stay both nimble and flexible.

If you are working in FCP7 today and everything is working for you, that's great. But make sure you spend your evenings learning the other NLEs and workflows. Simply put, FCP7 will not work one day. It will be here sooner than you think.

As I hope this article lays it out, I've been able to leverage the benefits of the program so that they outweigh the negatives. And there are negatives.

FCPX is far from complete. In fact, I would go as far as to say that it is an unfinished program. But, aren't they all? The key for me was to figure out how I could make it work for me so that my jobs run smoothly and my clients remain happy. I wouldn't use FCPX on every project. It currently seems to run at peak performance on shorter projects. While people are cutting long-form documentaries on it, I'm not ready to give it my thumbs up... yet.

My learning process took hundreds upon hundreds of after-work hours researching, reading blogs and articles, shooting fake projects, recutting actual projects and eventually dipping my toe with real projects. Because of my devotion to the brand that is Final Cut Pro, I feel the need to know everything I possibly can know, warts and all, so that I can sit down and start working without having to think about it. I also have faith that Apple's FCP engineers are working overtime to get the software up to snuff.

If I could invoice Apple for the time I spend writing bug reports and for the hair-replacement surgery I now need, I would gladly do it! It is by no means the perfect NLE for the time in which we live. In it's hey-day, FCP7 was close-to-perfect. It remains a very well-thought out, elegant piece of software, even given it's current limitations. FCPX has a long way to go. That day will come and I feel that metaphorically "starting in the mailroom" will help us all as the software advances.

At the time that I was creating my FCPX workflow, I felt that Premiere Pro CS6 was not an option. I look forward to trying Premiere Pro CC, as it seems to have matured to a point that I would work with it. The demise of FCP7 was devastating, but there has been so much development in all the major NLEs since then that it's become an exciting time for editors.

So buckle up, if you haven't already, and learn all the NLEs your brain can handle. But remember, to your clients, the tool should be invisible. To your audience, the story, with its own rhythm and flow, is all that matters. To you, the editor, the software tool you choose is crucial to your daily existence. It enables you to get paid and feed your family. At the end of the work day, your NLE and how you choose to use it is the most important decision you can make.

This news story for the weekly PBS series Religion & Ethics Newsweekly focuses on the struggles of Iraqi refugees who have been relocated to San Diego, a place that is a stark contrast to their homeland. Surprisingly, cities surrounding San Diego are home to a large Iraqi community. The story also shows how local Church-based support services provide aid and education to the refugees. Please be aware that some images may be disturbing.

Watch Iraqi Refugees in California on PBS. See more from Religion & Ethics NewsWeekly.


Michael Garber, Creative COW Magazine

Michael Garber

Michael Garber is an award-winning filmmaker and editor. You can checkout his reel at and his blog,

Michael also co-produced and edited Finding treasure: LA's vinyl resurgence and edited this piece on "Farmworker Justice" - which was the first story that Michael edited in FCPX.


Re: FCPX For Broadcast News
by James Bayliss-Smith
Hi Michael,

great article especially as I do similar edits to you so it was interesting to see what you do differently. If you're interested I wrote an article over a year ago now about my thoughts on FCPX and news check it out if you're interested.

You said that "It would be nice to see TC on clips somehow when they are in filmstrip view." You can do this. Just turn on "Show Skimmer info" in the view menu. Good Luck!
@James Bayliss-Smith
by Michael Garber
I always forget about the Show Skimmer Info. Thanks for the reminder :). Still, though, on-screen TC would be great to have back as I'm looking at the video as it's playing back while skimming or playing it. And it would be really helpful if they could get TC-burn in to work again and show the clip timecode.

I read News Shooter often. Great site and article you wrote. Thanks for sharing it.

Michael Garber
5th Wall - a post production company
Re: FCPX For Broadcast News
by Matt Grover
Great article Michael, it's always nice to hear some real-world FCPX use feedback.

I moved to it from FCP6 when I upgraded to a new MBP retina last September, at first it irritated the hell out of me as I couldn't work as I was used to. In FCP6/7, I tended to do a lot of work on the timeline, moving shots and sequences around a lot, picking bits out, storing bits far down the timeline for later etc. so, although I've since figured out I can probably work like that if I really wanted, it's been good getting into the new way of working with FCPX as I now work a lot faster than before!

Personally, I'm really liking using FCPX, working with FCP7 or Premier CS6 as I do for some clients feels like going back in time, so clunky!! (IMO)

Anyways, thanks again for a great article. One of the point that stood out to me was how you have, it seems, "template events" set up, which made me realise that keywords and roles are stored with events (which clears up a bit of confusion for me!)

The whole getting the most out of metadata and figuring out how to organise my events compared to working in FCP6/7 and premier, bin based environments, is something I'm still getting my head into. I can see the possibilities there, just need to figure the workflow.

It would be great to learn more about how you decide to and go about setting up your defaults, the thought process behind it with different projects you work on.

If you have the time of course! ;)


Matt Grover - Freelance Camera Operator
+44 (0)7710 776 767
@Matt Grover
by Michael Garber
Thanks, Matt! I agree that I do tend to work faster in X with DSLR/File based material. However, I still work a bit faster in the 7/Premiere timeline paradigm. It's just how I roll and others are probably way ahead of me in that regard. I expect to get much faster in the magnetic timeline as the FCP engineers add more features/make it more accessible.

Currently, my keyword/workflow learning strategy involves asking lots of questions and trying lots of new things. I'm constantly (ok, obsessively) checking the Cow boards, reading articles, etc. In addition, I'm shooting more frequently which gives me the opportunity to try new logging methods in X.

Sometimes, I'll take an old project from 7 that is long finished and move it over to X, just to see how different the timelines would look. And then I'll reverse engineer in the sense of "how the heck to would I make this work?"

But in all that complexity I discovered that sometimes it's best to work with a very simple keywording strategy. But a lot of it is trial and error. The error usually occurs after you've edited something and wish you'd done it different. But since X doesn't propagate keyword changes from the Event Library to the Timeline after-the-fact, it makes "fixing it in post-post" very difficult. My hope is that Apple will make it so that keyword additions in the EL occur in the timeline.

Sam Mestman has come up with some very smart keywording strategies for 4K. There's a video of his over at today from the last LACPUG meetup. But basically he's keywording his 4k clips with clip attributes which help with sizing clips in the timeline.

The scary part and the beautiful part of keywords is that the book is wide open. Best of luck.

Michael Garber
5th Wall - a post production company
Re: Tutorial: FCPX For Broadcast News
by tony west
I enjoyed reading about your workflow Michael.

When I first started using X it had News written all over it to me.

I working on a long form doc right now and I'm really enjoying the organization of the program.
Re: FCPX For Broadcast News
by Rob Ainscough

For your own sanity, you might want to diversify ... at the very least pickup and do a workflow on another platform (if you haven't already) ... just in case.

I see no "real" commitment from Apple for the "professional" both in terms of software/OS and more importantly the hardware side (specifically MacPro no being updated in over 3+ years). Apple are very much the "consumer" company now.

I transitioned from FCP7 to Adobe PP CS6 (Windows OS) -- the transition was very easy (I tried to like FCPX up to 10.0.4 but eventually gave up). Adobe PP CS6 is VERY similar to FCP7 only PP CS6 is considerably faster with a lot more hardware support.
@Rob Ainscough
by Michael Garber
At the end of the article, I go into detail about editing on other platforms. Summary: it's something I believe in very much.

Michael Garber
5th Wall - a post production company
Re: FCPX For Broadcast News
by tony west
[Rob Ainscough] "Apple are very much the "consumer" company now."

I'm still yet to see consumers shooting with Red or Alexa. Or even the new f5 and 55

X is set for the top cameras in the world.
Re: FCPX For Broadcast News
by Nino Cucic
The title is a bit misleading - this is NOT what you think when you read "news".
I usually have to get the package on the server by 3:30 PM. Usually stuff I shot the same morning.
So two hours is max, including ingest, VO reading, exporting and upload. For a 2~3 minute pkg.
@Nino Cucic
by Michael Garber
What I'm cutting is more feature story, documentary style. We're shooting over multiple days and culling from lots of footage. This is not evening news. But it is for broadcast and it is news. My hope is that some of the tips I've included could help anyone editing in X, even for same-day delivery.

Michael Garber
5th Wall - a post production company
Re: FCPX For Broadcast News
by Randy Hansen
Two days to edit 10 minutes?

i worked in news for 24 years and we had a half hour for two minutes. I envy you!
@Randy Hansen
by Michael Garber
Thanks, Randy! We have certainly had our half-day turnarounds in the past, and those days are crazy.

We generally have 6-10 hrs of raw footage and a 10-12 page script. All individual interviews are between 30-45 minutes of raw footage (so figure 2 hrs of sit-down interviews plus additional shorter interviews) which are all transcribed and logged. What I'm working on more documentary in fashion and different from the evening news, but still cut in the standard a-roll, b-roll news style.

Michael Garber
5th Wall - a post production company

Related Articles / Tutorials:
Apple Final Cut Pro X
Apple Motion 5: Awesome Glass Title Effect for FCPX

Apple Motion 5: Awesome Glass Title Effect for FCPX

"Create this frosted glass title effect for use in FCP X and amaze your friends," says longtime VFX artist, editor, software developer, and business owner Simon Ubsdell. "Nothing hugely fancy but a set of standard tricks you should find useful." Along the way, you'll work with clones, grouping, blurs, masking, levels, rigs, the Cellular generator, Glass Distortion, and the Extrude filter, along the typical plethora of Apple Motion workflow tweaks to provide maximum finesse with minimal effort. From there, you'll see how to add the title effect to FCPX, where you can customize and reuse to your heart's content.

Simon Ubsdell
Apple Final Cut Pro X
Apple FCPX Bullet Lists Animated & Timed With A Single Title

Apple FCPX Bullet Lists Animated & Timed With A Single Title

Quit stacking up layers in the timeline in Apple FCPX to create your bullet lists! They're kludgy, tough to layout, tough to make changes, and just plain unnecessary. There's a better way, and Bret Williams from BretFX is here to show you how to use the custom title to animate and time your bullet lists in FCPX, using hold frames to time your bullet points to audio. You can create, animate, and design your bullet points all within a single title on the timeline, making spacing, styling, and animation a breeze. Universally change or edit the font, spacing, position, and more!

Bret Williams
Apple Final Cut Pro X
Apple FCPX: Using Snapshots for Project Versioning

Apple FCPX: Using Snapshots for Project Versioning

Join Bret Williams from BretFX for look at some best practices when incrementing project versions in Apple Final Cut Pro X. Learn when and how to use snapshots, duplicates, and compound clips to quickly, safely and efficiently address project versioning and client changes in a fictional show called Outdoor Explorer. Bret will show you how to create smart collections and use them to organize project versions and snapshots, as well as showing what it means to "reference a new parent clip" to duplicate a compound clip and replace it automatically.

Bret Williams
Apple Final Cut Pro X
Apple FCPX Drop Zones Demystified

Apple FCPX Drop Zones Demystified

Learn how to use precisely the region or portion of the clip you want in the drop zone, adjust it after the fact by using compound clips, avoid the dreaded freeze frame, synchronize audio, and adjust the pan and scale of the media in the drop zone with on screen controls. Bret Williams of BretFX makes it easy, fast, and precise for everything you want to do, including syncing audio, color correction, and more!

Bret Williams
Apple Final Cut Pro X
Animate Text Without Keyframes or Plug-ins in Apple FCPX

Animate Text Without Keyframes or Plug-ins in Apple FCPX

Join longtime editor, VFX artist, plug-in developer, Creative COW leader Bret Williams of BretFX to learn how the FCPX Custom text tool allows you to animate text in Final Cut Pro X without using keyframes or plugins. With the often overlooked custom text tool you can easily create great text animation with just a couple of clicks. Change opacity, position, rotation, scale, duration, spread, blur and easing all without creating a single keyframe!

Bret Williams
Apple Final Cut Pro X
Apple Motion 5 Tutorial: Slider Title Template for FCPX

Apple Motion 5 Tutorial: Slider Title Template for FCPX

Create this clean and simple title template for FCP X and sharpen up your Motion skills! Join longtime VFX artist, editor, software developer, and business owner Simon Ubsdell for a look at combining masks and other advanced compositing and animation tricks in Motion that you can use for fast, elegant FCPX titles.

Simon Ubsdell
Apple Final Cut Pro X
Hawaiki Keyer 3.0 Upgrader Tutorial

Hawaiki Keyer 3.0 Upgrader Tutorial

After 25 years as an editor, compositor, and VFX artist, frequent Creative COW poster and tutorial author Simon Ubsdell knows what he needs from a keyer -- and knew he wasn't getting good enough results from FCPX or Motion. Discussions in COW forums led him to create the highly regarded Hawaiki Keyer for Mac users using Apple Final Cut Pro X, Apple Motion, and Adobe After Effects and Premiere Pro on Mac as well. Enthusiasm expressed by COW members for its latest release led us to ask Simon for a tour of the even more advanced Hawaiki Keyer 3.0.

Simon Ubsdell
Apple Final Cut Pro X
FCPX: Trailer Editing Workflow with Charlie Austin

FCPX: Trailer Editing Workflow with Charlie Austin

Creative COW stalwart, FCPX whiz, and longtime trailer editing expert Charlie Austin recently joined the folks at FCPWORKS and their FCP EXCHANGE workshop series for a deep dive into managing this particularly intensive form of editing with the newest Apple editing offering. Charlie comes at it with both a wit and precision that you won't want to miss.

Charlie Austin
Apple Final Cut Pro X
Using Apple FCPX for A DocumenTree

Using Apple FCPX for A DocumenTree

After 25 years of working on other people's documentaries, commercials, feature films, filmmaker Michael Angelo's first original project is the inspirational story of the Treeman of Venice Beach, a singular creation of a singular man whose combination of costume, body paint, live foliage, and 10-foot stilts is gently beguiling and deeply inspirational. With over 1000 hours of footage in a crazy number of formats over a period of years, collaboration among a far-flung team of volunteers with varying degrees of expertise (including none at all), A DocumenTree seemed like the ideal project for Michael to jump into Final Cut Pro X. Michael's longtime experience in a variety of disciplines has nevertheless allowed him to come at the issues of media management, metadata, offline-online workflows, and a variety of complex technical issues in some unusual, and, dare we say it, organic ways.

Editorial, Feature, People / Interview
Michael Angelo
Apple FCPX Techniques
Managing FCPX Media Labs for Maximum Sanity & Minimum Chaos

Managing FCPX Media Labs for Maximum Sanity & Minimum Chaos

Managing a shared storage environment for Apple FCPX is one thing. Now add 100+ students who are still learning the rules, and the challenges skyrocket. Fortunately, Andrew Gash's experience at Lakeland Florida's Kathleen High School has given him some great ideas for you that promise to make things as foolproof as possible, maximizing sanity and minimizing chaos. Even if your shared editing environment is in a post house or broadcast environment rather than a school, Andrew's advice is well worth heeding!

Editorial, Feature
Andrew Gash
© 2020 All Rights Reserved