Why Final Cut Pro Deserves Better And How Apple Can Make It a Creative Powerhouse Again

In recent years, Final Cut Pro seems to have stalled. Updates are rare, innovation is scarce, and the software has lost the creative momentum that once made it a benchmark for professional editors.Still, that doesn’t mean the story is over. The potential is there, waiting.
If Apple chose to invest with intent and clarity, we could witness the rise of a complete, fluid, and integrated ecosystem. One that speaks to editors, VFX artists, sound designers, and colorists alike.
That’s why this article goes beyond a wishlist. It’s a concrete vision of what Final Cut Pro should become by 2026 not just to survive, but to lead.

Final Cut Pro: The Creative Hub

Apple has introduced automatic transcription, which is useful for documentaries and subtitles. But we’re still far behind tools like Descript or DaVinci Resolve, which allow text-based editing, multilingual translation, and flexible formatting.
We need a leap forward: more languages, richer formatting options, and integrated text editing. A system that lets you move from spoken word to final cut with ease.

iCloud as the New Frame.io

Anyone working remotely knows how essential Frame.io  is. But Apple already has the tools to build a native alternative, powered by iCloud, with timeline comments, automatic versioning, and real-time sync.
A collaborative system designed for remote editors who want to stay within the Apple ecosystem.

Native ARRIRAW Support, Please

Final Cut Pro supports ProRes RAW and Redcode RAW (via plugins), but not ARRIRAW. Yet ARRI has released its SDK and doesn’t oppose integration.
Color Finale Transcoder is a great workaround, even for Blackmagic’s BRAW, which isn’t natively supported for obvious reasons. But native support for more professional codecs would send a strong signal from Apple.

Color Grading: Final Cut Needs to Evolve

We don’t need a new app. We need Final Cut Pro to integrate advanced color grading tools that can compete with external solutions.
That means new color wheels (including HDR), ACES support, accurate Color Space Transform, and AI-powered auto-balancing. These tools shouldn’t replace third-party plugins, but offer a solid, professional foundation for those who want to stay inside Final Cut’s ecosystem.

Better iPad Integration

Final Cut Pro for iPad was a welcome surprise. It marked a step forward, but one that still feels isolated.
Now imagine starting a project on iPad and continuing seamlessly on a MacBook Pro, Mac mini, or Studio via iCloud—just like you already do with Pages or GarageBand. That kind of continuity isn’t just convenient. It’s essential.
A frictionless, interruption-free workflow would let creators move between devices with the same fluidity, wherever they are. It’s the kind of experience that empowers creativity, not limits it.

Logic Pro: Closer to Sound Design

Logic Pro has always been the playground of music producers. But it has the potential to become a go-to tool for sound editors as well.
To make that leap, Apple could introduce advanced audio routing support for ambisonics and spatial audio, film-oriented sound design plugins, and libraries for foley and ambiences. These additions would open the door to a broader userbase beyond music production.
At the same time, Final Cut Pro should evolve in parallel. It needs streamlined tools for quick audio mixing, especially for lighter content like IG Stories, TikTok posts, or branded videos.
Not every project requires studio-level post-production, but every project deserves polished sound. For this reason, Apple should make the audio workflow more accessible and deeply integrated.

Motion: From Plugin Engine to VFX Platform

I like Motion. It’s powerful, but often underrated. Its 3D handling is solid, the layer-based workflow is intuitive, and its plugin creation for Final Cut Pro is a major strength.
The next step? Make it appealing to VFX artists and motion designers. Let it compete with tools like Houdini, without losing its lightness.
With expanded simulation capabilities, particle systems, and AI-powered procedural animation, Motion could become a true creative lab for those working across graphics, effects, and visual interfaces. It doesn’t need to become After Effects. It needs to become Motion at its full potential.

Apple Music: Licensing and Voice-Over Integration in Final Cut Pro

Music is one of the trickiest choices in editing. It’s not just about finding the right track — it’s about knowing if you can use it, where, how, and under what license.
Imagine a native Apple Music extension inside Final Cut Pro. A dedicated window where you can search, preview, and license tracks based on usage: YouTube, broadcast, streaming, cinema.

Each track would clearly show:

• License type
• Cost
• Territorial restrictions
• Project compatibility

All integrated into the editing panel. No need to leave the app or rely on external platforms.

Protected Previews. Before purchase, tracks would be available only in watermarked versions — with a subtle but recognizable audio watermark. Alternatively, a secure playback system could prevent extraction.
This way, you can edit and test your project risk-free, and finalize the purchase only when you’re confident in your choice

Professional Voice-Overs. Final Cut could include an internal marketplace for professional voice talent. You could choose based on:

• Preview
• Narrative style
• Language
• Accent

Again, voices would be available in protected demo versions, with watermark or usage limitations until the license is purchased.

Royalty-Based Licensing. Once selected, the voice could be licensed via a royalty-based system. Every time the voice is used, the artist receives a share, not a one-time fee, but a fair and sustainable model.

Multilingual Voice Cloning. Alternatively, you could clone your own voice and translate it into other languages, preserving tone, rhythm, and intent. Similar to platforms like ElevenLabs.

Pitching to Apple TV+ via Compressor

Imagine exporting a Final Cut Pro project using a dedicated Compressor preset — optimized for Apple TV+ technical standards and submitting it directly to Apple TV+ through a platform designed for filmmakers, directors, and indie producers.

This platform could include structured submission tools for pilots, shorts, or features. A professional profile, let’s call it Apple Studio Profile, could offer dashboards, analytics, and editorial tools to track proposal status.
It doesn’t exist yet, but it would fit perfectly into Apple’s strategy. Just look at App Store Connect for developers, Apple Music for Artists, and Apple Podcasts Submissions.
A similar portal for audiovisual creators wouldn’t just democratize distribution, it could unlock a new wave of original content. Today, many ideas are blocked by editorial barriers and gatekeeping. This would be a direct bridge between creativity and distribution, where Final Cut isn’t just an editing tool, but a gateway to the industry.

Conclusion: The Future of Final Cut Pro Isn’t Waited For. It’s Built

Final Cut Pro still has the potential to be the heart of a modern creative pipeline. I use it daily it’s my companion at work, as you can see on my portfolio. But to thrive, it needs courage. It needs listening. It needs the spark that once made Apple the brand for creators.
By 2026, updates won’t be enough. Creators want tools that speak their language, anticipate their needs, and remove friction.
Apple has the tech, the ecosystem, the community. Now it must choose: lead the creative revolution—or watch the market move on. Because the future of post-production isn’t built with patches. It’s built with vision.