Wrap your head around the workflow, and Motion is, above all else, quick to use. The idea is not to choreograph elaborate, planned-out visuals and then see how they look, but to constantly experiment and tweak as the motion plays. However, Motion is a different kind of motion graphics program, one that emphasizes playing with parameters live and in real-time. The natural impulse is to compare Motion to other tools, like Adobe’s After Effects ( ), that produce motion graphics and add dynamic visuals to video. It also grants you the same capabilities Apple had when generating its Final Cut presets.
IMPORT APPLE MOTION 5 TO AFTER EFFECTS PRO
The ability to “publish” certain parameters when exporting filters, generators, titles, and transitions back to Final Cut Pro X gives you live manipulation of these elements in Final Cut without re-rendering, or switching to Motion. Users of previous versions will likely find everything within a couple of minutes, and Motion has never been more usable on a lower-resolution laptop display. Motion’s transformation, though, is far less radical aesthetic adjustments aside, it mainly serves to consolidate settings into panes. On the compositing side, Apple has added greatly improved chroma keying.įinally, as with FCP X, Motion 5 has also gotten a shiny interface remake. With Final Cut integration, it’s possible to produce transitions, titles, and generators that editors can reuse in Final Cut, especially useful for producing consistent in-house templates. You can combine parameters into rigs to consolidate live control of your compositions, and then publish those controls to smart templates and FCP X. You can now take advantage of resolution independence-ideal for targeting multiple formats. More visible are other subtle but significant enhancements to functionality and control. These changes cover the whole tool, from plug-ins to effects to rendering. As with FCP X and Compressor 4, there’s also support for ColorSync color management, and a shared render engine. The engine, now rewritten in Cocoa, incorporates OpenCL support for accelerating computation on compatible graphics cards, 64-bit architecture for optimized computation and access to greater memory resources, and support for Grand Central Dispatch multithreading technologies-all of which combine to help you squeeze the most out of your available hardware. Motion, like FCP X, includes changes both visible and under-the-hood. Assign controls, and you can use these within Motion to orchestrate various visual elements at once, or export to Final Cut, where they provide live control for yourself or a collaborating editor. Motion expands on its interactive, live control of visuals by allowing you to consolidate parameters into Rigs. So, is Motion 5 a must-have add-on for the new Final Cut, or even as a complement to rival editors or previous versions?