We've been asked a lot about the differences between mF2.0 and the first version so here's a quick comparison.
1. First things first - mFlare2 has been rewritten from the ground up, which means that it is a completely new piece of software. This allowed us to take all the best things about mFlare, add a bunch of new useful features and base them on the latest tech available on the current generation of hardware.
2. mFlare's redesigned interface is no longer a standalone app. It runs directly within FCPX/Motion 5 so you don't have to wait for it to load each time you want to adjust something. Also, since its integration is so tight, all changes are being instantly updated in your host app's viewport.
Even though you're usually tracking a small portion of your video, there's no way of telling how the tracked object will behave so the entire frame needs to be sent to the tracker. This can be a problem when attempting to track a high resolution video from an integrated GPU as they can't handle large textures very well (most likely because they don't have their own video memory but "borrow" it from your RAM). This is not an mFlare2 issue, the same problem occurs in Motion 5 when you attempt to, for example, use some GPU-accelerated filters on really large layers.
There's an easy way around this in FCPX though:
1) create a temporary HD project,
2) drop your high res footage onto the Timeline,
3) drop it into a Compound Clip (Alt+G),
4) apply mFlare onto the CC and set it up as you like (edit, track etc),
5) copy the entire Compound Clip (or just the tracked effect) to your main Project.
Compound Clips will have the same resolution as the project they are created in (in this case 1080p) so you should be able to track them without any problems, even on integrated graphics.
Nonetheless, seeing how Apple tends to throw Intel's graphics (alone) to the majority of their Macs, let's hope their support will improve over time.
PS. Please share your work, we'd love to see what you were able to achieve using our plugin
All of this seems rather convoluted, it would be easier if you'd provide the mentioned template. This way we'll be able to see both what you're trying to achieve and what is causing your problems.
Have you tried trashing Final Cut's preferences by launching it with Alt+CMD keys pressed?
Unfortunately Motion's masks only support Linear interpolation, at least for now
As for trimming Generators in FCPX, you can prevent them from re-timing by simply dropping them into Compound Clips (Alt+G) and trim the CCs instead.
Hi Karsten and thanks, we're really happy with how it turned out
Another quick tip for those playing with mF2 - once your flare is set, increase the global Aberration effect a bit (Inspector -> Post Effects -> Aberration). It will render a tad slower but it's definitely worth it, especially if you've got a lot of flare stuff moving around -> screenshotcomparison.com/comparison/119433
But the fact is that more often than not, you do need to spice up an otherwise boring shot. A properly used digital lens flare is invisible and enhances the image rather than making it look "J.J. style" . So if you need to do this anyway, why not use a tool that is both powerful and fun to use?
The new version was designed to let you to do all of this much better and much quicker than ever.
Need to adjust the flare's colors to match your clip's mood? Just set the primary color in the Color Palette, play with the secondary/tertiary handles and BAM! Done in 10 seconds.
Want to add a slightly wider glow to the flare that's already present in your footage but the camera is a bit too shaky? Use the build-in Mocha tracker and BAM! Done in 30 seconds and sticks to your clip as if it was there from the beginning
Want to add a bit of organic behavior to your flare but hate Final Cut's linear keyframes and don't want to go into Motion? Enable the new Flicker, Dynamic Animation and/or Track Brightness options and BAM! It animates on its own after a couple of clicks.
No external interfaces, hardware-accelerated rendering, negligible loading times, reliable and accurate tracking, super-fast workflow... Yeah, but enough bragging
Give the demo a go, you'll be surprised how easy it is to make an organic flare (and how hard it is to mess it up )
It ended up looking gorgeous, hope you agree . Robin did a great job with the tutorials too, no one could have done it better!
Any questions, opinions? Anyone used it in a project already? Please share!
When it comes to FCPX and Motion 5, their system requirements suggest that they are based on OpenCL which allows you to pick between CPU and GPU devices for doing your calculations. Usually work is being divided between the two (or more, depending on your configuration), although many tasks can be run in parallel - in such case the GPU will perform much better.
That being said, FCPX and Motion 5 do a lot of parallel work so having a solid graphics card with at least 2GB of video memory is always a plus (most modern plugins will benefit from it as well). Intel is still far behind, it "steals" memory from your RAM and its current support is limited, to say the least. Investing in a decent dedicated/discrete graphics would be your best bet
FCPX tends to remap the clips' scale when placing them on your Timeline (all of them are at 100%), have you tried dropping them into Compound Clips (within the Event Browser) and using the CCs instead?
Making this is actually quite simple but you'd want Apple's Motion 5 app for that:
1) open a new Transition project ,
2) extend both Transition A (video you're transitioning FROM) and Transition B (video you're transitioning TO) layers to match the project duration,
3) make sure that the Transition B layer is above Transition A,
4) animate the Transition B layer's "Position X" parameter (select layer -> Inspector -> Properties -> Position) so that it slides in from outside the screen,
5) enable the Motion Blur feature via Render menu.
After publishing (saving) the template it will show up in Final Cut as a new transition that can be simply dragged between your clips!
You can also fake this in FCPX alone by animating the second video via the app's built in keyframing tools and applying a horizontal Directional Blur effect with an animated amount on top.
Terminator 2 and Michael's music video aren't as similar as you'd think, T2's 3D geometry morphing is almost nothing like the 2D face morph from the other one.
mMorphCut was meant to be as simple to use as possible so you end up with a single setting: small/medium/large motion for detecting matching features on your video. You can't control it on a per pixel basis but it will give you a much more organic animation than when using the built in transition.
Pielle, I did a quick test of how this would look like in mObject 1 and even though messing with the rotors' Anchor Points was a bit of a pain (you need to select sub-groups to see their AP Helpers) it runs at constant 50fps on my iMac 5K, compared to 2fps (during closeups) of Motion's 3D text solution! So it's well worth the hassle
I've attached this project as well as the necessary mObject scene so feel free to check it out
Ah, at last I can post freely (my previous comments became available too
Pielle, did you play with mObject's Animation Layers? They are meant specifically for animating your models so you'd only need a single mObject generator for that
Well, not exactly. mObject had the option to use both text glyphs and SVG vector files for stylized 3D extrusion long before Motion and FCPX so of course you can use it this way too. But you're right, its true potential is revealed when you import a more complex, textured 3D mesh. mO2.0 will be a bit different in that regard too as you'll be able to do much more without having actual models.. although it will also allow you to use a wider range assets available on the net so you'll have much more to choose from
Hi Pielle! Of course, the entire workflow has been rebuilt from the ground up so it will be a LOT more intuitive than before .
That being said, you should be able to do this in the first version too - you can either set up the Anchor Point's position manually or (assuming that your propellers were perfectly round) right-click on the AP's label and pick "Center" from the context menu which would do that automatically for you
Nonetheless, we're working hard on version 2.0 which will be a huge step from anything we've seen so far. I can't even describe how incredibly fun it is!
But first things first... mFlare 2.0 is almost done
Hi everybody, have you seen the screen capture of our mObject 2.0 render engine in action already? If not, be sure to do so because we think it's AWESOME!
Quixel's materials are indeed fantastic, no doubt about it. And they work incredibly well with our renderer:
Hope you're as excited as we are, this bad boy will rock your world!