[Cody Hoerig]

I know I have read on here that sometimes the Import to Motion changes color, but have not seen anything on the Export.

Also, I am importing from a single file, and exporting straight to a single file, I am not round tripping from FCP if that helps.

Thanks

[Cody Hoerig]

Matt,

That would save me a lot of time, how would I go about doing that specifically? So i can set things in the motion tab in FCP and then transfer those exact settings to Motion? When I transfer to Motion, how do I do that, and wont it just take the crappy job FCP did and just re-render it out?

It would definitely help me as it is hard to edit these sequences with the digital moves separately in motion, sort of just guessing how it will fit into the sequence in FCP where the main edit/timeline is.

[Cody Hoerig]

Fantasic, that does help me a lot. Thanks Mark

[Cody Hoerig]

Yeah I can, I tried that and it works a lot like it does in FCP. I think I got the hang of it now, but I was wondering if there was an easier way to do it, either with a standard setting or a way to select all keyframes and move all of them forward or backward in the TL without changing each key frames specific values aside from moving them forward or backward in time.

[Cody Hoerig]

Matt I actually did have it wrong, but I did what you suggested and the quality is still not anywhere near what Motion 3 can do its probably because its not a still image and a full on movie sequence.

[Cody Hoerig]

Colin thank you.

I set the motion render settings in FCP but that didn’t help much, so I went over to Motion 3.

Per your suggestions I lowered the render settings to draft etc. This helped, but I still need to do a RAM preview to watch it in real time, but at least it works in RAM preview now. Since I am new to Motion I guess RAM preview is to Motion, as Render is to FCP?

Also, since I want to do a final output to ProRes 422 HQ in 720p I didn’t know exactly what to set my project properties as, so I put it in 16-bit float, so that when I export it in ProRes the 10-bit is preserved.

I have a feeling I am doing this wrong, do I even need 16-bit float? Will 8-bit work fine? If i use 8-bit and export to ProRes when I am done will the exported ProRes file still have the 10-bit color space?

Thanks for all your help!

Also: Peter, I did try that plug in, the problem is that it only works with still images not video files (unless I am doing something wrong)

[Cody Hoerig]

Thanks guys I think I might use that matte generator Andy. As I really don’t want to nest (doing a roundtrip in color)

Also I found the thread Jeremy, the title of the thread threw me off at first which is why I brushed over it, but i found it.

For those of you who stumble on this thread more info is here:

https://forums.creativecow.net/thread/8/1109824#1109923

Thanks guys!

[Cody Hoerig]

OK, I actually did a search, looked around a little bit but couldn’t find any information, I will look around again, thanks for the heads up.

[Cody Hoerig]

Miriam,

Thanks to you I was able to figure it out!

I had tried using the alignment setting in the control tab before but no matter what i set it to nothing actually changed. After your suggestion i went back to try it again, still nothing worked, so i played around with the settings and realized that i need to have Word Wrap set to OFF, and then it works like a charm without effecting any other clip.

Thanks so much!

[Cody Hoerig]

The only problem with doing that is that my credits are split up into different sections (so i can have them be a slower speed but longer then two minutes. So they need to be able to be editable because i need to match the speeds across the different instances of the credits so they flow like its one cohesive credit, going at one speed.

I find it hard to believe that there is no way to have each instance, or each clip of the Boris generator be independent and able to have different alignment settings from clip to clip.

Has anyone ran into this bug, and or limitation?