[Robin S. kurz]

There’s no way of saying without seeing the actual project, let alone with only such rudimentary information.

– RK

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[Robin S. kurz]

[Mark Spencer] “You can’t have audio in a Motion template that is published to FCP X.”

Yeah. Audio can’t be incorporated into templates. Unfortunately.

[Chad Greene] “Ultimately I would love to have the camera sound AND the transition flash also be apart of the overall look. “

Again, simply make an effect preset. If you want to incorporate anything else (FX, sound etc.) simply make a compound clip, duplicate it and change the contents as needed. Done.

[Chad Greene] “Does this sound like a complex template to build? Is this something I can learn in a day or should I be looking for an expert to build it for me?”

On the one hand I’d say that if you can build it (in this case meaning that/your particular effect) in FCP, then you’re about 5% away from building it in Motion. On the other hand, it’s not complex enough to justify going to Motion for it imho. Save learning Motion for something else. Seeing that you’d still have to do (audio etc.) work in FCP once it’s there, it seems overkill. I’d go the compound clip and effect preset route. I do it all the time and know my around Motion very well.

– RK

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[Robin S. kurz]

The Ink Bleeds aren’t plain strokes, they’re movies. If you want to animate them off, you use a reversed version of said movie. Aside from that, the one or other already has preset keyframes.

– RK

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[Robin S. kurz]

I agree with Mark. And I’d say I’m pretty UNbiased. 😉

But then, if you’ve made that effect ONCE in FCP, there’s always the “Save Effect Preset” option, too. No need to do the same thing over and over.

– RK

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[Robin S. kurz]

For me, the last part…

“In all, it was an incredibly smooth workflow that enabled us to edit quickly, using all the advantages FCPX brings with keywords and organization, the ability to skim through dozens of hours of footage in thumbnail view and sort through hundreds of photos in a visual way. However unprofessional FCPX was deemed in the beginning, I can’t help but feel I’m kind of a poster child for how today, it can be a revelation in non-linear editing. I was able to pick it up very quickly and before long my brain was thinking about editing in a completely new way.

More and more I’ve been able to concentrate on storytelling, without worrying about pesky things like tracks or what bin a particular clip is in.”

… says it all. Spot on. Mainly because it reflects pretty much exactly what I and 99% of the people I know that actually LEARNED X have said many times over.

– RK

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[Robin S. kurz]

[Bret Williams] “then using retiming (cmd+R), I just add holds (shift H) “

That’s actually the best solution, yes. I should have thought of that. ;-D

– RK

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[Robin S. kurz]

[Bret Williams] “I’m talking about a situation where the NLE is basically used for shot selection and timing. Then the project is exported to AE”

Ah. In which case I personally much prefer ClipExporter over AD for price reason’s alone (v1.x is even FREE), but also since there’s no “via XML” or via any other apps kludges needed either (in v2.1) with the additional optional goodies of getting trimmed copies of clips AND as Nuke files. And from my non-scientific comparisons, the ClipExporter conversion is cleaner. Then there’s always “SendTo” (Motion), that still works on not-too-complex projects, which is also free. Because if you add both AD and XtoCC price-wise in comparison… (O_O)

– RK

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[Robin S. kurz]

[Bret Williams] “If you need to get a sequence to Motion 5, that’s really the only way to do it.”

I beg to differ, since that strikes me as an awfully long way around for an otherwise fairly nominal task. Simply exporting the section of the timeline that you want to use in the Motion project and using THAT as the basis for a new project, then simply publishing it as a generator to FCP X (easy right-click access after that) would be one way. If just a single clip, then hitting ⇧⌘R and using the clip that is shown as the basis (via “Create Project from File” that is) would be another. Certainly much much less convoluted with the exact same result.

– RK

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[Robin S. kurz]

What you’re trying to do isn’t possible as you describe. But you COULD set up a single template where you can choose which bullet point animates on per pop-up. Meaning that if you e.g. select “Bullet #3” then #1 and #2 are already on-screen and only #3 animates on, and so on. That way you at least only have ONE template for x amount of bullet-points.

You would of course still need a new instance of said template for each time a new bullet-point comes on, but at least not an entirely separate template for each bullet-point. If you know what I mean.

– RK

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[Robin S. kurz]

And by the way, as Philip recently pointed out, think of the possibilities if Apple in fact connected all the dots. They altogether have a truly impressive collection of metadata-deriving technologies. With all of them combined, they could have speech translated to text, keyword ranges extracted, with person detection (which of course already exists), people identified and named, emotions detected (with their most recent acquisition) and the content of b-roll labelled. All with just a simple import. And probably even more.

It’s not automated editing, but it would be a brilliantly good start on organization. Add some basic string-out building algorithms and there’s a basic starting point for e.g. non-scripted shows with EVEN LESS organizational time required as there is already with X.

I can only see Apple, of all the NLE makers, in that very unique position. We’ll see if they carry through on any or even part of it any time soon.

– RK

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