[Alex Gollner]

Thanks for getting more information from Horace, Marcus.

I’ve added a second update to the original post to include your Twitter conversation with Horace and this most recent post of yours.

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com

[Alex Gollner]

You can’t do anything in Motion to stop an editor changing the duration of a generator in Final Cut. You can however make sure it only shows content for 4 seconds or less – however much the editor increases the duration of the generator in the timeline.

Set up the Motion generator to be 4 seconds long and 1 frame.
Create your content so its duration is 4 seconds long
Deselect everything, go to the last empty frame
Set a marker: Mark > Markers > Set Mark
Choose Mark > Markers > Edit Marker
Change the new marker’s Type to ‘Build In – Mandatory’

Now when you use this generator in Final Cut, it won’t scale any of your work in time – all behaviours and animations and duration will be fixed to 4 seconds and then vanish – if you make sure no content is visible in that last frame.

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com

[Alex Gollner]

Brandon,

You can put the 25p footage on a 25i timeline. Any graphic animations you then overlay will be rendered with subtly different values for each field – making the animation smoother (by halving the vertical resolution) without converting to 50p.

You could create a 50p timeline, add your 25p footage. It will run at a normal speed (5 seconds of 25p footage will take 5 seconds to play when placed on a 50p timeline). You can then add the titles and graphics you need for smoother animation. When exporting you can then choose to export 50p from the project or 25i.

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com

[Alex Gollner]

Another thing to watch out for with OSCs applied to invisible layers is that if the filter modifies the pixel dimensions of the group, you can get scaling problems when linking parameters. Get around this by setting the invisible OSC group to have a fixed resolution (usually the same dimensions as your project).

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com

[Alex Gollner]

How about €7.90 for a single Motion filter? Or an adjustment layer?

At that rate I could charge a few hundred for the other publishable Motion features…

It might take a few days to make the plug-ins, but imagine the profits!

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com

[Alex Gollner]

If the scale slider is published, you can now set scale keyframes in Final Cut Pro to change the value for scale over time.

A way of using a different sets of keyframes that have been set in Motion is to assign each set to a rigged widget.

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com

[Alex Gollner]

In practice, Final Cut Pro 7 type is too large in 1080p timelines – the effective resolution isn’t 1 point per pixel.

For example, for an upper case A to fill the screen in 7, the size of Gill Sans type must be set to 525 points. In Final Cut Pro X titles created at 1080p in 1080p timelines, the size must be set to 1572.

So when working in 1080p, you must triple the sizes you’re used to when moving from 7 to X.

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com

[Alex Gollner]

Installing PixelConduit (for free) gives you scopes, which might help.

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com

[Alex Gollner]

Point size for a text used in a title depends on the size of Motion Template used to make the title.

This means if the title was created at 1920 by 1080 and used in a 1080p timeline, the type size should be correct: 1080pt type is approximately the height of the screen (depending on typeface design). If that same template is used on a 720p or 480p timeline, the whole template is scaled down to match the timelines, so text set to 1080pt in the template will match the height of the screen.

This applies if a Title was created at 720p. If it is used in a 1080p or 4K timeline, 720pt will still type will fill the screen (there’s no text quality degradation when scaling up).

Most Title motion templates are created at 1080p, so when used in lower resolution timelines, type sizes will seem smaller than in Final Cut Pro 7 and earlier.

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com

[Alex Gollner]

The two most-recent versions of Motion (and Final Cut Pro) have had a bug that causes momentary upside down frames when rendering and outputting – when using some video filters.

The two solutions (while we wait for Apple to fix the apps) are
1. Use different filters
2. Export as image sequence, then import the silent image sequence into a new project and re-export as any movie format you want (adding any soundtrack you used in the original project).

I had this problem a few days ago with an FxFactory filter. There’s nothing Noise Industries can do – the fix is up to Apple.

@Alex4D

___________________________________________________
Alexandre Gollner,
Editor, Zone 2-North West, London

alex4d on twitter, facebook, .wordpress.com & .com