Clark's timeline in FCPX George Abbott Clark knows that Final Cut Pro X has a cloudy reputation in the editing business. “When it first came out, it was a nightmare,” he says on a phone call from Los Angeles. “But the new updates are remarkable. It’s like power steering - you would never go back to making it more complicated and cumbersome.” In editing Jim Shoe from writer-director Pete Sutton, Clark faced pushback from post-production and industry peers in his choice to cut in FCPX. Amid a series of major studio releases also cut with the controversial program — Focus and Whiskey Foxtrot Tango among them — Clark remains steadfast in his adherence to FCPX, citing the ease of working with the system. “[FCPX] has a rep for being simplified and dumbed-down,” Clark says. “But it’s not. It’s sophisticated, and advanced. There’s a misconception in the community.” In the transition from FCP7 to X, Clark knew the new program was being built on a 64-bit platform from the ground...
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