I've been playing with FCPX for over a week, finding all the rough edges and updating my Scathing Review of it over here: http://tinyurl.com/44suu89
For all the controversy around this program, my real-world finding is that it is a phenomenally well-evolved version of Final Cut Express. But Final Cut Pro? That's another story.
One often peppered with this quote; "&^%$#@!!"
FCPX does have a killer audio component. No, it won't let you organize things in some ways (numbered tracks) but it makes short work of blending/overlapping camera ambient sound into a seamless, natural sounding track without losing the local audio and occasional lip-sync moments in the edit. None of the audio transitions were mere audio dissolves, they were all overlap+fades and sound MUCH more realistic than simple dissolves.
It also makes pulling together something this rich on a news-editor timeframe actually possible. Oh, yes. FCPX is a Must Have program for news editors. It lives up to its hype in the speed department. The footage was all edited and originally mastered out as 1080p30 and I never felt slowed down by the computer for more than a minute or two.
Things you want to know:
I made the 1080p30 edit in FCPX including only the copyright title. All leading and trailing titles were added in iMovie '11 (V 9.02). The 1080p went to 720p as an output sharing option in iMovie. Then to here.
Most of the clips were auto color/tonality Balanced in FCPX. That saved a ton of time. I think 80%+ were fine that way.
Actually, I wish the simplified image tweak panel from iMovie, or the 3-Way Color Corrector from FCP7 were in this program. Both of those work more intuitively, cleaner and produce higher quality results. You can see this same footage in a two-year-old edit that took much, much more effort, here: vimeo.com/7585457
Append editing, for the most part, went extremely fast and the majority of shots were not visually tweaked after landing on the timeline.
Shots here and there had their angles adjusted and their stability and rolling shutter effects tweaked. You'll never know where they are.
Some shots that we tried things on suddenly became DOA when the thing we tried could NOT become un-tried gracefully.
Stay away from the buggy Opacity keyframes. They may bite you with a trailing black frame that won't die. We covered some of ours with flashy transitions just to make the thing work.
The shots were with a Canon 7D with the 18-55 lens mostly. Shot hand-held or with a Steadicam Merlin in 2009 at the West Hollywood Halloween gathering.