Watching for tracking shots is always fun, but they work best when you don’t even realise they’re there. Director Matt Reeves’ Godzilla homage Cloverfield had a unique device that allowed him to include some impressive sequences — the story about a giant beast attacking New York was all done from the point of view of a camcorder user, Blair Witch Project-style.

It reads like a lot of other books you might have read on being a great filmmaker, explaining the terminology of an extreme close up versus a long shot and which boom mike is best for a particular set-up. But each section gives you a feel for what you’re in for doing so in the digital world, and they’re not tacked-on subchapters either, the text drilling right down into explaining the digital approach.

The Avid suite of products are still the first choice for pros, but Final Cut proved long ago it could do the same job, and with so many good features both new and old, Final Cut Pro 6 edges Apple one step closer to dominating yet another field.