[Brett Sherman]

You’d have to do it in a vector editing program. In Motion there is no way to edit inside of a vector.

[Brett Sherman]

For social media what you need is an .srt file if you don’t want the captions “burned” into the image. You can simply export the captions as an SRT file. You don’t have much control over how it renders, as it’s completely dependent on Facebook or Youtube to control text size, position etc. The advantage of using SRTs for social media is that captions appear if audio is turned off. Once the user turns on audio the captions disappear. You have to upload, the SRT file when you upload the video file. I rarely open caption Facebook or Youtube, but always upload an SRT. I think like 85% of viewers never turn audio on.

If you want it “burned in” then you’ll want to use something like “Final SRT” to convert from captions to titles. Currently Instagram has no srt capability, so I always open caption those. It’s also good practice to deliver 9×16 vertical video for IGTV. So for IGTV I usually drop a square video in the middle, with a text title at the top and captions rendered underneath the video.

[Brett Sherman]

Is there any reason not do just use dissolves to bring it in and out? In these cases I do that simply because it’s faster and easier to tweak. Select clip. Command-T and your done.

It would also not be hard to change the template in Motion to make it work. But that may be more than you want to do.

[Brett Sherman]

I did the following things which had no effect:

– deleted cache file to force re-render
– created new library and dragged project into it
– hid inspector
– made into compound clip

I would say that it’s unlikely it has to do with particular render files because I’ve re-rendered I think about 5 times now from scratch. It must have something to do with FCP X “loading” the Motion templates when it hits a particularly intensive section.

I’ve tried all sorts of things to isolate. As much as I can tell it has to do with hitting a certain threshold of Motion template loading. I can exceed it with different templates in different combinations. One particular title template I made seems to be causing most of it. The crazy thing is I can use instances of the same title in other less layered sections and it works fine – if a bit sluggish.

[Brett Sherman]

In the Generator uncheck “Animate”. Then apply a Ramp to the number “value”. Start ramp at 1 and end at 187. Then adjust “Curve” in Ramp Behavior to desired Ease. It will also “Ease” out of 1 too.

You can also add an “Average” parameter to the number “Value”. It basically does the same thing as “Curve” but you can double-up the Easing with it. You have to adjust the “Start” offset because it “Averages before the start of the ramp. And be forewarned Motion can on occasion ignore “Average” for unexplicable reasons. See below:

[Brett Sherman]

iZotope RX’s “Dialogue Isolate” is about as close to magic as noise reduction gets. One parameter to set and it does a phenomenal job. But, it doesn’t work as a plug-in and it is only in the RX Advanced Suite. If you find yourself doing a lot of audio denoising it is well worth the steep price. I have CrumplePop’s first version of DeNoiser, and it is nowhere close to the same ballpark as Dialogue Isolate.

[Brett Sherman]

I just think the internet infrastructure of our country is not up to it at this time. IF you pay for a massively expensive internet connection with massively expensive network equipment, it may be possible. The costs of remote hosting of files are orders of magnitude more expensive than hosting them locally. How quickly will that change? Personally I don’t think it happens until SSD storage drops in price significantly (as platter drives can only get so cheap because of their complication).

Then you need fast access. So if you have a set location where you work from maybe you can pay for super fast internet, but it’s expensive and not universally available. And you can’t be mobile. Looking beyond the current pandemic, is that different to haul yourself into where the servers are versus working at home? I suppose if you’re hiring editors you have more options if they have the necessary bandwidth. Passing off projects would be easier.

I would love it if I didn’t have to manage all my storage anymore and could access it from anywhere. I just don’t see it being realistic for my organization for at least 10 years.

As far as FCP X goes, I do think they should work on collaboration. If not for remote use, then within facilities. I’m not sure how that looks, but at least then they would be more ready for cloud-based editing.

[Brett Sherman]

Actually the different aspect ratios are part of the aesthetic and image. It’s social media generated material and as such it almost requires this type of approach. If everything were pristine it wouldn’t look right. Having end user generated content just gets you in a more fundamental way.

Here’s a similar video from Facebook. Frankly, I think it’s one of the best I’ve seen in a decade or so. Better than Apple’s IMHO.

https://www.youtube.com/watch?v=oUXbMhSjIc0

[Brett Sherman]

You can just compound the clip. Select the clip then Opt+G to compound it. Then trim to your hearts content.

When you blade a motion title it sets the new out point where you bladed. And whatever animation you have in the motion template gets scaled to the new clip length.

[Brett Sherman]

You can never get anymore resolution than originally exists in the captured footage. You can export directly from a clip in the browser, but it can be a bit flaky. It’s better to make a Project that matches the resolution and frame rate of your raw footage. Then put in short clips containing the area where you want to export. Go frame by frame and find an image without motion blur. Export as .TIFF or other format (not JPEG). If you need more resolution you’ll have to use an A.I. Upscaler after export.

This video is informative:
https://www.youtube.com/watch?v=5LrPKoNvPPc

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