apple's pro apps have been in a weird space for a while. aperture dying was a bummer, and final cut and logic feel simultaneously actively developed and abandoned to me, there's just not much buzz around them.
it would be very neat if apple started to build the necessary portfolio of software to provide a viable, ideally not-subscription-based competitor to adobe's suite of products. they certainly have had the chops to be competitive in the creative space for a long time, so it feels like something they'd be well-positioned to seriously take on if they invested heavily in it.
i haven't been as in touch with the video editing space as i was 2 decades ago when i worked in TV, but it feels like FCP is not the juggernaut it once was from the outside. my read may be wrong. similarly, logic doesn't feel as prominent in the music world anymore - i really rarely see musicians using it these days, though again that may just be my bias in the kinds of folks i pay attention to. would be cool to see the apple pro suite really regain its mojo and shake things up.
Aperture could have been amazing, but it was slow, buggy and suffered from a catastrophic data loss that several of my Photojournalism classmates fell victim to - just as Lightroom appeared.
FCP was outstanding in its time, but was neglected.
I went all in on Logic, however, and that has proved a great buy, no subscription model, fantastic extras and works super well. If they can rebuild a enthusiast-targeted set of apps again, but stick with it, the future looks bright.
I cannot imagine Apple ever competing with Capture One or most of the other circle of RAW image processors, which have some rather niche features, but they might be able to take on Lightroom.
One of the senior Aperture team members went off to use the underlying OS RAW infrastructure in product called Gentleman Coders Nitro. It's a decent but little known Lightroom alternative with no subscription, albeit without all the recent Lightroom AI-infused features. It does have AI masking though.
I bought their previous software "RAW Power", because it was a one-time perpetual license. Then they rewrote the app (it's worse now BTW), rebranded as Nitro, and stopped updating the previous one to be able to charge again.
The Pixelmator team did the same thing with "Pixelmator Classic".
A fantastic product but the colour science does not look great from a first play, and I don't know if seven days is long enough to figure it out. If I had a job I'd pull the trigger anyway, but too much of a luxury right now. I can't believe I did not know about this application. Shocking marketing! :D
> FCP was outstanding in its time, but was neglected.
I'm more of a casual when it comes to Final Cut Pro rather than a daily driver, but it does seem like the last year or two they've started to get back into the fight again. Some of the 360 VR/AI/multi-iOS camera changes seem to go more hand-in-hand with "Apple gives a shit about content creation again", buttressed by Apple Vision Pro and spatial photography.
As someone who's still eagerly awaiting like... any reasonable prosumer device to shoot for Apple Vision Pro, I think all of this industry is going to really ramp up in the next few short years very quickly. Gonna be interesting.
Yea, if Apple is going to want their VR products to succeed they're going to have to rely heavily on some vertical integration on video capture/editing software, and FCPX (and now Pixelmator for the spatial photography efforts) seems like the natural place to put those efforts.
It feels a bit strange though that they made FCP for iPhone/iPad a subscription, and completely separate one from the Mac App.
Like, Apple probably doesn’t even need to make money from any of FCP? IMO should be used for driving people to buy more hardware. It’s a little bit offensive for them to charge $5/month on top of a $300 Mac app.
On my Mac I have Davinci, and was considering perhaps trying FCP, but not at those prices / subscriptions.
Fair enough. I don’t use the iPad version of FCP or Resolve, but I’ve paid for both Mac apps and have enjoyed free updates from Apple and Blackmagic for close to 10 years.
Yeah this. Aperture was a mess. Some of the "full" edit tools from Aperture are actually lurking in Photos which is a fairly competent photo editor on macOS surprisingly.
I think they have a chance. I know a couple of professional photographers. One uses Capture One and only for tethering support. The other an ancient copy of Lightroom that was a one time purchase and use that for persistent contract work for one of the larger advertising companies in London. If the price is right and it's good enough, they are probably going to do fine.
I'm an amateur and I want to get off LR because I hate giving Adobe money every month and the damn thing is a fat pig compared to Photomator. Photomator is missing decent dehaze and because I have a shitty little DX mirrorless, I need the denoise and it's not as good as LR is.
I was quite surprised (pleasantly) with the editing features available in Photos. I rarely use it on the desktop, and primarily only use it on the device I took the image, but to see how much more in depth the editing was on desktop was one of those that I thought for a second might make me switch to using it for device captured image editing.
For non-device camera images, I still use full tilt apps as that's just my workflow and I do not ever see Photos working its way into that workflow
The no-subscription aspect is a huge differentiator IMO, and depending on situation is even worth trading off features. Losing access to your work because you stopped your Adobe subscription sucks, as does the eventual premium over single-purchase.
Logic is a weird one. It has really truly excellent included instruments (such as Alchemy) and effects, but the app itself feels rather outdated. The mixer, whilst having had some nice features added since Logic 9, is in dire need of an update.
I believe the Logic team are still based in Germany, where the original Emagic team that produced Logic were based, so it's not that they are languishing, but an intentional decision has been made (either by them or Apple) to keep this structure.
Logic has such a long history, it's not surprising that it shows it's age, and has 'weird' behaviour that you wouldn't choose today. It's got stuff in there from the early 90s, as it started out as a midi sequencer before pulling audio into the product.
All the AI hubris but Logic still does not do fades or zero crossings when cutting audio clips. And don't get me started on the audio zoom. This is basic stuff!
It feels like the audio code was not touched since emagic days.
In defence of the AI hubris, I laid down a funky rhythm guitar track, verse and chorus, and then fiddled around with the AI bassist and AI drummer and blow-me-down-with-a-feather if the results weren't outstanding. Like a perfect demo. I was able to send that to my mate and say, here you go, here's a demo with guide tracks for the bass.
For making demos and filling-out sketches, I'm thrilled. Here's the audio, and all rough playing, bum notes and general incompetence are my own.
Huh. Doesn't return to the one, ever? You've got sort of a I - III - IV thing going on, and it just goes to IV and stays there forever. Did you think that was the root?
Fun toy, though! I take it you extended it backwards into an intro, or you have playing it can read that you muted, leading into your guitar stuff. Did you play to a click or is it reading your tempo too?
I think I played straight into Logic with the metronome on, two sections and then pushed that forward to create some blank bars for the intro and then added the drummer on multiple tracks and same for bassist, then fiddled with some of the settings for each section.
I was pretty impressed, though, for approximately ten minutes start to finish. I should probably go recall what I played so I can try and finish the riffs off or something.
An actual competent musician ought to be able to make the most ridiculous demos with this thing.
This seems like a very weird hill to die on, specifically concidering this is a feature I would want explicitly off and wouldn't care about existing.
It's editing 101, check your cuts are at a safe boundry of put in a fade. I've never seen an auto feature do what I want though and need to redo it anyway, so just doing nothing is half as much work.
I would much rather complain about lack of AAF support in logic but then again I would never recommend logic to anyone other than for music production work purely because that's the only use case the devs seem to care about.
You might be diligent to check your cuts in Sample Editor.
However when you zoom in in the Arrange the way the waveform is rendered it seems like you are cutting on a zero crossing when in fact you are not.
It lies to you and leads you to believe you've done the right thing.
I have had the pleasure of working on tracks with dozens of clicks that I had to remove thanks to the laziness of Logic developers, pardon me for dying on the hill and spoiling your view.
I don't use logic. I find it to be no good but regardless I still wouldn't die on that hill.
There's many things I disliked about logic when I tried it and that led to my opinion on its only useful for music production, I would probably not even say editing...
More on the composition level. If I'm tracking it's into Pro Tools, any edits happen there too. I personally don't move out but other's do really prefer to do more production work in Logic so I would happily bounce out tracks for them. Ironically AAF would solve that problem too...
Regarding cuts on zero... I basically never do so all my cuts will have a crossfade, generally the real world is just a little too chaotic to have a zero crossing just about where I would prefer the cut...
Unfortunately I am in position where I have to master mixes done in Logic and this backwards crap can easily add up to half an hour onto every track. Sick of it. Dying on that hill!
I mean put it in your requirements and reject the mix if it contains pops and clicks... Whoever did the mixing has the original with cuts so can add fades much much quicker than you can.
And if they don't well, more work for them.
Or just add it to the bill, if you are clear upfront that it will add $$$ there's no issues there.
I've had sessions rejected by mastering engineers for stuff that I've had to correct, why make this your problem.
There was the SQLite database that was run on its own thread, and regularly synced to disk, the hard-sync that waited until the data had flushed through to the disk platters.
In addition to that there was a whole structure of plist files, one per image, that meant the database could be reconstructed from all these individual files, so if something had somehow corrupted the SQLite database, it could be rebuilt. There was an option to do that in the menu or settings, I forget which. The plists were write-once, so they couldn't be corrupted by the app after they'd been written-and-verified on ingest.
Finally, there were archives you could make which would back up the database (and plist files) to another location. This wasn't automated (like Time Machine is) but you could set it running overnight and come back to a verified-and-known-good restore-point.
If there was a catastrophic data loss, it's (IMHO much) more likely there was a disk failure than anything in the application itself causing problems - and unless you only ever had one instance of your data, and further that the disk problem was across both the platter-area that stored plists and well as database, it ought to have been recoverable.
Source: I wrote the database code for Aperture. I tested it with various databases holding up to 1M photos on a nightly basis, with scripts that randomly corrupted parts of the database, did a rebuild, and compared the rebuilt with a known-good db. We regarded the database as a cache, and the plists as "truth"
I'm not saying it was impossible that it was a bug in Aperture - it was a very big program, but we ran a lot of tests on that thing, we were very aware that people are highly attached to their photos, and we also knew that when you have millions of users, even a 1-in-a-million corner-case problem can be a really big issue - no-one wanted to read "Aperture lost all my photos", ever.
I personally witnessed one incident I mentioned, and for my sins tried to help my panicking classmate, I think we reached a good-enough outcome. On the subject of raw files processing, I have yet to find an ideal system, if it is even possible, where edits to get a RAW photo to its final state are handled and stored in some deterministic format, yet somehow connected to said image, in a way that allows the combination of the edit and raw to travel around.
Everything I've tried - let's see, Aperture, Lightroom, Capture One - have to use some kind of library or database and there's no great way of managing the whole show. The edits ARE the final image and the only solution I had that ever works was to maintain a Mac Pro with RAID and an old copy of Lightroom, and run all images through that.
IIRC, I never understood the Aperture filesystem, probably not meant for humans, which didn't help. Does that sound right?
Adobe have (had?) a DNG file-format that encompasses the RAW data, JPEGs and the changes, but by the simple fact that adjustments are application-specific anything you do to modify the image won't be portable. It's basically a TIFF file with specific tags for photography.
The thing is, if you want any sort of history, or even just adequate performance, you want a database backing the application - it's not feasible to open and decode a TIFF file every time you want to view a file, or scan through versions, or do searches based on metadata, or ... It's just too much to do, compared to doing a SQL query.
The Aperture Library was just a directory, but we made it a filesystem-type as a sort of hint not to go fiddling around inside it. If you right-clicked on it, you could still open it up and see something like <1>
Masters were in the 'Masters' folder, previews (JPEGs) inside the 'Previews' folder, Thumbnails (small previews) were in the 'Thumbnails' folder. Versions (being a database object) had their own 'Versions' folder inside the 'Database' folder. This was where we had a plist per master + a plist per version describing what had been done to the master to make the version.
We didn't want people spelunking around inside but it was all fairly logically laid out. Masters could later be referenced from places outside the Library (with a lower certainty of actually being available) but they'd still have all their metadata/previews/thumbnails etc inside the Library folder.
Yeah, even DNGs don't really work because as you say, the edits are application specific. My entire workflow converted everything to DNG for about 15 years but now I don't bother.
The thing that Lightroom really got right was not trying to mix all this stuff and organizing the master files well, so it was extremely clear where source material lived. I certainly don't want to root around thumbnails and previews in randomly-named folders.
Aperture's interface could have been great with some decent performance, and some of those decisions seemed to have survived with the iPhoto Library. Perhaps one big-ass ball of mud works fine for consumers with small file sizes and no archival strategy, but it's too prescriptive for me. If they brought Aperture back, and incorporated Photoshop-like features, that would be interesting and cool, so long as they left photo management alone.
The lesson I took a long time to learn was to not have the RAW processor import your files and instead get Photo Mechanic to do it instead, because it does a better job, and just use the RAW processor to process RAWs.
XMP/ITPC has been around longer than I've had a digital camera, do you know why Aperture didn't make use of those?
Aperture always (I think, definitely by 1.5) extracted the IPTC metadata, along with other vendor-specific data from photos. I think (hey, it's almost 20 years ago..) it was 2.0 when we supported XMP. It definitely came in at some time, but it wasn't there at the start and I can't recall exactly when.
Going back to 2007, so can't remember super clearly, but IIRC the db was a sqlite like thing and all info about everything was stored in this, and it was vulnerable to corruption, plus all versions and thumbnails were mixed together with original image files - a total mess. The digital photo management landscape wasn't so mature then, and some people trusted Aperture with their original images whereas later versions allowed or encouraged people to keep their "masters" elsewhere.
Because the whole thing was as slow as a slug dragging a ball-and-chain, pre-SSD, issues with that filesystem or master database were sometimes mistaken for just general slowness. I jumped to Lightroom faster than you could say Gordon Parks.
Aperture 1.0 was very slow. The stories I could tell about its genesis...
I came on board just before 1.0 release, and for 1.5 we cleaned things up a bit. For 2.0 we (mainly I) completely rewrote the database code, and got between 10x and 100x improvements by using SQLite directly rather than going through CoreData. CoreData has since improved, but it was a nascent technology itself back then, and not suited to the sort of database use we needed.
The SQLite database wasn't "vulnerable to corruption", SQLite has several articles about its excellent ACID nature. The design of the application was flawed at the beginning though, with bindings used frequently in the UI to managed objects persisted in the database, which meant (amongst other things) that:
- User changes a slider
- Change is propagated through bindings
- CoreData picks up the binding and syncs it to disk
- But the database is on another thread, which invalidates the ManagedObjectContext
- Which means the context has to re-read everything from the database
- Which takes time
- By now the user has moved the slider again.
So: slow. I fixed that - see the other post I made.
Thanks for the lovely insight, super interesting - I don't think I made it to Aperture 2 - but sounds like some unusual decisions made in that editing process. I suspect, based on my own history with disk problems, that the filesystem issues that would regularly pop up and not dealt with by your average technically-over-trusting student were the root cause, but exacerbated by the choices of image management and application speed.
Apple gained so much professional mindshare in the early 2000s with FCP, Shake, Logic, Aperture, Motion, XSan, XServe, etc. I worked in a graphics/media studio at the time, and the excitement was palpable. And creating things with those apps was just fun.
It feels like a shame that only vestiges of that time remain today. The bar is much higher in some ways (lower in others), it takes a lot more skill and specialized knowledge to compete, and almost all vendors don't put in the same careful attention to detail (especially UX) that the Apple pro apps of that era had.
It seems there was a huge loss of software in the 32bit->64bit switch. Code bases in Cocoa were too heavy to switch to Swift (or whatever the specific languages were). FCPX is such a different version than FCP. Just like QTPlayerX is so different than QT Player 7 Pro was such a regression of capabilities. I doubt there was a "this is the best QT Player we've ever released" on that "upgrade".
people who work in jobs tend to talk about their tools. i worked in tv for a while a couple decades back, i went to school for film, and thus i have many friends who do creative video editing and professional video editing and still follow the industry closely. i'm not talking about typical social media buzz, i'm talking about "companies moving on to the product" or even "companies continuing to use the product," or professionals choosing to invest in the tool for their work.
i've only seen businesses and creatives i know moving their workflows away from FCP and Logic. i've not talked to friends in the industry who are moving on to them. buzz may be a poor word to choose, but for example i have a friend who does a lot of in-house editing for a massive, national company that owns many local TV stations and they're moving from avid to _premiere_, of all things, which really feels shocking given that premiere for a long time felt like the hobbyist tool.
a good example of a tool that has industry buzz lately is davinci resolve, which has had a meteoric rise in prominence. i don't think that it's the same thing as the average person talking around the water cooler but more and more of my friends who work at networks or in production are starting to use resolve in their color and editing workflows, and it's a topic of discussion.
My mistake then, I thought you meant a more general social media kind of buzz.
Logic and Final Cut did at one point have that kind of buzz when they were a part of Apple's "wow look at all the pros using macs" Mac OS X comeback story.
one hundred percent - and i felt like when they initially launched garageband they were doing a great play to get people (particularly folks who dabble and school kids) invested in the logic-style workflow to build up their familiarity so that folks entering the industry would demand it in their workplaces... and then it all just fell off. they actually seemed to want to have that kind of flow in place for basically every kind of professional tool! imovie->FCP and garageband->logic being the prime examples (or maybe only, I guess) that I can think of.
I assume there was some shift in how they thought about serving professionals and where apple's place in the work ecosystem was because the beginning of the end for apple pro software in terms of prominence aligned roughly, it seems, with things like the discontinuation of the xserve line (which itself wound down as apple seemed to rebrand itself as a consumer device company first on the heels of the iPhone's success.)
There was also a shift in greediness, because all those prof software have pretty good hardware requirement linked to them precisely in the place where Apple extract the most money with their absurd margin.
So even if in theory a Mac could be good for video editing because of its software, for a young person, a Mac with enough storage to make this endeavor worthwhile pursuing is entirely out of his budget.
In the meantime, this person can settle for a still pretty good PC that may not be as great but will allow him to have multi-terabytes of storage at a palatable price and he can just use DaVinci or a pirated copy of Premiere.
In some ways macOS has more users but they all tend to be for the "basic" consumer type which are OK with the base configuration Apple offers that are not completely out of whack from a value standpoint.
Apple may be realizing a bit late that while it does seem alright for money making, it doesn't make for halo products that give status and are aspirational.
But then again Apple seems to be content just being a luxury brand that primarily gives status by making people appear "rich".
To the contrary, you want there to be buzz around their new features. As a professional, you need to keep up, and you want new features to reduce your busywork in the app.
Buzz is actually a pretty good metric, because it means the product is being maintained and improved, and you want to be investing in tools that will continue to meet your needs over the next 10 years rather than become stagnant, and then you have to re-train on a competitor.
I suppose we need to be more specific about what we mean by buzz.
I mean "buzz" to be a general enthusiasm about the software even among non-users. I recall times when there was quite a lot of this kind of buzz about both Logic and Final Cut, in part I think because they were a part of Apple's Mac OS X comeback story.
I suspect you mean "buzz" to be enthusiasm in the community of users of the tools. I know software I've worked on in the pass, the general public couldn't care less about our product, but new releases always got a lot of buzz in our forums. This kind of buzz might actually be a pretty good metric.
I dunno, I'd be more inclined to subscribe to a version of Photoshop CS1/CS2 that runs on modern operating systems where all development effort goes into fixing bugs and improving performance instead of something like current Photoshop CC, where the focus is on gee-whiz gimmicky features. Plugins can fill in for the gee-whiz stuff without turning the core app into a cosmically bloated mess.
The abandoning of FCPX after surviving the reputation blow it took during the transition from 7->X is baffling to me. In the mid 2010s it was actually a fantastic NLE, I used it for professional work for a solid decade. When it comes to speed editing there’s just nothing like it. But starting around 2019 or 2020 they just began to let it languish. To say they don’t have feature parity with resolve and premiere is beyond an understatement, whereas they were trailblazing some great stuff previously. Their multi-cam and audio sync’ing was next to none at one time.
I was around there ~2019 the original FCPX design team was purged when the art director from a print magazine took over for the pro apps. He brought in people worked on stuff like the LinkedIn website, ESPN baseball apps and Disney games. Engineers and QA were annoyed having to explain concepts like timecode
Still sad that the Apple-award-winning vector drawing program Lineform all-but vanished. (and don't get me started on Freehand being bought by Adobe which is why I need to find a replacement vector drawing tool)
Cenon is nice, but hasn't seen much updating (but at least, being opensource gets updated as new versions are released).
Inkscape is workable, but still a bit awkward (and I doubt it will ever get all of Freehand's functionality/keyboard shortcuts).
I've been buying Serif's Affinity Designer (and their other apps), but they're still not as comfortable as FH/MX --- wish the Quasado/GraviT folks would get further along.
FWIW, I tried very hard to find every possible CAD/CAM program when researching the Shapeoko wiki.... though I found Cenon because I was a long-time NeXT user.
That is why I settled on it. The other one I was working with was FabBSD. I still have the source to that it is an OpenBSD focused on CAM. I think the developer lost interest when OpenBSD switched the security model for GPIO.
OS X used to have iPhoto, which was a really decent app in the days of early digital photography. Until Apple decided to replace it with a more "streamlined" Photos app, by removing a lot of features.
I guess a lot of the editing has since moved to the photo-taking device (and the early iPhones/iPads lacked the processing power), but is that the cause or effect?
It's weird seeing all this discussion of this being a new entry into Apple's pro apps, I'm curious what you folks think Apple has to gain from expanding their pro line up today?
Apple was into pro apps 20 years ago when they were trying to win over creatives to their new platform (OS X). That's hasn't been a priority for them since then, they've vaguely migrated to the prosumer market (Final Cut Pro X). But that strikes me more as a compromise to give the products more life without doing things that are antithetical to Apple (mainly backwards compatible, i.e., real pros need this).
I've speculated here that my only guess is this is about visionOS (https://news.ycombinator.com/item?id=42018695), but curious to hear from anyone what specific problem expanding their pro line up solves beyond that? (I guess maybe getting another pro app on iPad is a little bit of something, but I don't think that's acquisition worthy.)
> it feels like something they'd be well-positioned to seriously take on if they invested heavily in it.
I agree, but history just proved that Apple does not care.
And let's be real: Photoshop is cross-platform, and lots of content creation software is cross platform (or a web app). There are many more content creators that use Windows than people here are aware of or want to acknowledge (on HN, sometimes you get the impression that Windows is a forgotten OS that nobody uses). Now, Apple is at a huge disadvantage for losing that market -- often you can only be a big player if you have enough users. Apple also is never known for putting apps on the web like Figma and doesn't appear to have plan to do so.
A similar example is the iWork suite. It exists, but neither users nor Apple seem to care about it.
In the end, they just kind of development native Mac OS software half-mindedly. Which is fine -- that's what they want to do.
Sure but what Keynote does is pretty niche.
On the other hand, Pages is nowhere near the capabilities of Word and still not a good layout program either.
Numbers is OK only if your spreadsheet needs are very basic and you mostly care about the presentation of it. Its performance is so bad that even Google sheet feels better (it's way more capable nowadays, in any case).
Apple have those things only to say they have them and pretend that they have "solutions" instead of having to rely on 3rd party.
But they are not really competitive outside of the most basic need and in my opinion their existence is not worth all that much in today's landscape where both Microsoft and Google basic offering are free.
Logic falls into a weird space between pro (studio) software and home studio software. Professional studios mostly use Pro Tools and Cubase (Europe). Home users mostly migrated to Live. It's obviously an oversimplification but it does reflect the problem Logic is facing.
Live is far ahead of Logic in the electronic music space. With a streamlined UI and M4L it dominated the market for the new(ish) generation of musicians. Every single musician I know (100s) moved from Logic to Live within the last two decades. The only people I know who still use Logic are composers (Live lacks music notation) using laptops at home.
Not to say that Logic is not a great piece of software. Drummer tracks were revolutionary, built in plugins are solid.
There's some other places that migrated to Reaper because of its own specialties. Reaper runs great and is absurdly, unreasonably customizable.
That of course means extensive skinning capabilities, but it also means ReaScript, a scripting language with a whole API. I recently succeeded in using ReaScript to take my control surface, the faders of which I'd colorcoded, and using them to on the fly adjust output level controls on plugins I wrote.
Not just 'assign the plugins to a fader', or 'assign controls to plugin parameters on the selected track, or discontinuous selections of tracks', though those are also things Reaper happily does.
I mean, in a big mix I can assign track colors to the tracks in Reaper, and the parameters (in plugins, mind you, anywhere in the FX stacks) will all jump to the live position of the control surface fader with that color. A bit specific and personal, but it's entirely done in scripting.
The game industry uses Reaper for similar reasons: being able to automate generation of a game's entire collection of sounds has its uses. I would say it is the DAW equivalent of what Blender is, in 3D modeling.
Interesting, that's a very cool idea! I tried Reaper when it was released but didn't find a good reason to move away from Pro Tools. That was a very long time ago though.
What's the best community for sharing ReaScripts? Also, is your script available anywhere?
Apple is clearly investing in it, but for whatever reason it's simply not got the foothold it once had and they don't seem super interested in pushing it and people aren't using it. I feel like it's substantially less prominent in the industry than it was a decade or two ago, I see it in far fewer studios (or, even further I'll say I literally have not seen anyone using it in person in the past ten years, which is a marked change.) For a very long time, I feel like cubase/logic/pro tools were The DAWs That People Used. Logic doesn't seem to be appealing to new producers as much and it doesn't seem like Apple is as invested in pushing or promoting it as it used to be. I might be wrong, though!
I much more frequently see Ableton for folks doing electronic music now (that really eats up most of the dance music space, as far as I can tell) with pro tools being the juggernaut in the live recording space. That said, I'm like... a hobbyist audio engineer who records and mixes friend's bands, so it's not like I'm in and out of studios all the time and there's tons I haven't seen. It's just anecdotal.
fwiw, you're forgetting Mainstage, which is the defacto industry standard (alongside Ableton, to an extent) for live performance. There's a cottage industry of Mainstage session sales and sound design that is funded by basically every theater production in the United States from high school to Broadway which is wild if you think about it.
Garageband is also way more popular than people realize. Logic, (which is Garageband+ since version 10, essentially) has a few features that anyone in that ecosystem really wants. Logic + Mainstage is still unbeaten for the value for recording/production/performance, while Ableton continues to rot and Bitwig gets slightly better (but is still no Logic, and costs 3x more for fewer features)
Final Cut had its lunch eaten by DaVinci and Premiere. And anyone with money was/is using Avid still, just like with Pro Tools.
What I think would probably be a more likely thing to happen is for Apple to create a subscription called "Apple Creative" or sth. as soon as they have a similar assortment of programs to rival Adobe as having one subscription for all of their applications is currently their biggest advantage.
apple's pro apps have been in a weird space for a while
I blame it on Apple’s corporate culture and its relentless focus on secrecy and big event announcements. This strategy works extremely well for them in the consumer space but it’s just frustrating for pros to deal with. When professionals invest in a software tool for their business they need to have some assurance of commitment from the software vendor. It takes an enormous amount of time and effort to retrain for new tools and retool for new workflows.
Pros really like when a company that makes their tools is really open about the development roadmap and engaged in two-way conversations about issues with the tools and what needs to be fixed, what new features are needed, etc. Apple has traditionally been seen to be hostile to that sort of relationship.
it would be very neat if apple started to build the necessary portfolio of software to provide a viable, ideally not-subscription-based competitor to adobe's suite of products. they certainly have had the chops to be competitive in the creative space for a long time, so it feels like something they'd be well-positioned to seriously take on if they invested heavily in it.
i haven't been as in touch with the video editing space as i was 2 decades ago when i worked in TV, but it feels like FCP is not the juggernaut it once was from the outside. my read may be wrong. similarly, logic doesn't feel as prominent in the music world anymore - i really rarely see musicians using it these days, though again that may just be my bias in the kinds of folks i pay attention to. would be cool to see the apple pro suite really regain its mojo and shake things up.