[Ben Balser]

DriveX is made to track things like particle emitters (I beta test for them). TrackX is what you’d want to try out.

[Ben Balser]

You may save time and money finding a template already coded to do what you want. MotionVFX would have one if anyone does.

[Ben Balser]

Professional audio studio monitors, doesn’t matter what you’re mixing. On a budget, PreSonus Eris E4.5 4.5-inch Powered Studio Monitor. If you have more to spend, ADAM Audio T8V 8-inch Powered Studio MonitorADAM Audio T8V 8-inch Powered Studio Monitor. But you’ll also need to take into consideration room size. 8-inch will overpower a small room and alter the sound too much.

Audio monitors are like video monitors; consumer products have internal circuitry that alters the sound/image to enhance it for that particular hardware, thus you can’t get true colors/sound out of them. Professional studio monitors are designed to give a true, unaltered image/sound so you can grade/mix/master honestly without alteration. Thus, commercial computer or stereo speakers won’t cut it.

[Ben Balser]

I’d use mO2 in Motion. Two primitives for the book back and front, each in its own Group, animate the each Group, apply necessary textures.

Then two flat primitives the same way (and in the same respective Groups), lined up to the book. Align a copy of the video to each primitive and align so they match in the middle. But still, it’s going to be flat the whole time.

I don’t think you’re going to get super high end results unless you go with creating this in Blender.

And no, you won’t get “curved” pages with only FCPX nor Motion stock by themselves.

[Ben Balser]

What is the format and sample rate of the audio?

What is the format of the video?

What “percentage” of your system drive is free space?

[Ben Balser]

Look at Frame.io

[Ben Balser]

Pixelmator Pro, Affinity Photo & Designer, Motion, Compressor, mO2 (form MotionVFX for native 3D work inside of FCPX and Motion), there’s tons of stuff that easily replace Adobe’s suite of never ending bank drainage.

[Ben Balser]

Scribeomatic and SymonSays are both extensions for FCPX and work really great.

[Ben Balser]

Verify the bit rate of your original media.

To switch between proxy and original/optimized media, that’s in the Viewer menu. What that is set to is what you’ll export. And currently there’s no known export bugs that will affect bit rate changes. The bit rate will be whatever your original footage is. Thus, if your original footage is 8-bit, for example, exporting ProRes 4444 HQ will give you an 8-bit ProRes 4444 HQ file. You’d have to create a custom preset in Compressor to force an increase in bit rate.

[Ben Balser]

Technically the aliases survive, but the links are broken the minute you cross from one drive to another. They are meant to only work with files on a single drive.

You need to “Consolidate” the Library first.

https://support.apple.com/guide/final-cut-pro/consolidate-projects-and-libraries-ver9c7660349/10.6.2/mac/11.5.1

BluRay seems a very slow, ineffective, and expensive way to backup Libraries, though.