[Corey Petree]

That’s kinda what we’ve done, as much as possible.

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Corey Petree
http://www.petreemedia.com
(OT: check my user profile for a good guacamole recipe!)

[Corey Petree]

Thanks, Stephen. Right now I’m working in 30 – 60 sec portions of the 7 min FCP timeline I’ve sent to Motion. (Anticipating this, wipe elements have been designed specifically to use to sew these parts together visually.) Nothing will play back in real time because of the amount of stuff going on, and often RAM preview often plays back at single digit fps (???). I have to “clear RAM preview” an awful lot.

What I have wound up doing, though, in order to be able to continue making creative content edits per client request, is to work with an audio mixdown in Motion. Any sync audio that gets changed in Motion also gets edited and kind of hand-synched with the mixdown in Motion (example – move this guy’s bite later 6 secs and remove her bite). Then I’ll export a QT with vid & aud to FCP an conform the audio edits there. Kind of a bit of a pain, but much better than trying to highlight and move many non-linked audio tracks in Motion. Hopefully I’ve describe my work-around well enough to convey what I’m doing. It’s kludgey, but it’s working.

– Corey

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Corey Petree
http://www.petreemedia.com
(OT: check my user profile for a good guacamole recipe!)

[Corey Petree]

I’ve heard that the only dumb question is the one that goes unasked.

Any of the software you mentioned would work just fine, though something like AE might be overkill depending on exactly what you want to do. If you’re cutting in FCP you already have what you need. You could try just creating the simplest titles in Final Cut, and if you want more pizzaz and control for any of them, create those particular titles in Motion and throw that onto your FCP timeline. It’s very easy to make changes to them that way as well.

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Corey Petree
http://www.petreemedia.com
(OT: check my user profile for a good guacamole recipe!)

[Corey Petree]

Definitely. That’s how I got the project into Motion to begin with, and you’re right – it has been a real challenge because of its size bogging Motion down to a crawl (tough I’ve done this size thing in AE and been able to get through with much less pain). That’s one reason I’m trying to dissect the FCP timeline to Motion relationship down literally into its smallest components – each shot becoming a Motion project in the FCP timeline – in the next part of this production. I’m just trying to discover the best way to create a workflow that makes changes to the FCP / Motion timelines as painless as possible. I’ve got to find a way to make story content changes (pull-ups, new shots – adding pauses, etc.) as easily as possible. I’ll see how it goes.

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Corey Petree
http://www.petreemedia.com
(OT: check my user profile for a good guacamole recipe!)

[Corey Petree]

Yeah, I’ve discovered that it doesn’t do well. 😉 That’s the exact reasoning for breaking each shot into its own Motion Project in the second video. It seems like it would offer the most flexibility for continuing the creative content edit. An earlier version (experimenting with “looks”) had the project in a bunch of sections going into Motion, but that still would pose a problem with regard to changing the edit in Motion, but perhaps not as much. Any techniques to break the bigger Motion project I have into smaller sections and still maintain audio sync in FCP? Dragging sections into new Motion projects, then taking those into FCP? I will have to develop some sort of fix, and I’m beginning to suspect that I should sew this thing together in Final Cut after ripping it apart in Motion. Thoughts? Wanna trade places?

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Corey Petree
http://www.petreemedia.com
(OT: check my user profile for a good guacamole recipe!)