Ideas for new Mocha Pro options


After inserting images, animations from sequences or videos into surfaces, after saving the project and transferring it to another computer or to another folder, you need to reconnect this content in Mocha Pro.

Make it possible to collect files as in After Effects in Mocha Pro, so that after it is completed, all files connected to surfaces are in one specially created folder and so that they are named working paths with the project in the plug-in.


Today in the Mocha Pro plugin only one layer from After Effects can be added via INSERT LAYER. In the Mocha Pro plugin I create surfaces around the car and insert animation from After Effects into them.

Today, to insert animation into 3 different surfaces, I need to save 2 animations in a sequence, and connect 3 animations via INSERT LAYER, which is extremely inconvenient.

Please make it possible to connect layers from After Effects through several INSERT LAYER.

For example, you can do it like this:

In the settings of the Mocha Pro plug-in in the MODULE RENDERS settings group after INSERT LAYER add the “+” and “-” buttons.

Clicking on the “+” creates another layer selection setting “INSERT LAYER 2”,

and INSERT LAYER 2 appears in the selection list in the plug-in.

Each press of the + button creates INSERT LAYER 3, 4, 5, and so on.

And after each pressing of the “-” button, every last line of INSERT LAYER is deleted.


If you select several layers in the “Layers” panel and insert one image in the surface of these layers, then this cannot be done. Insertion will occur only for the first layer in the selected group

Similarly, if you try to change other values for a group, the value changes only for the first layer in the selected list.

This is extremely inconvenient. If there are 10 layers, then I need to select each layer and insert and other similar actions with it.

Fix it.


Add a surface color adjustment as for the spline. When working on a dark object in the video, the surface is not visible.


The Mocha Pro plugin has a list of properties that are aminated on the timeline. Some settings are located in the INSERT - TRANSFОRM - OFFSET tab

If you select the “Position” property and start changing its value in the “Autokey” mode, then a keyframe will be created on the timeline (Green triangle)

If you move the time indicator to another place in the video and change the value of the “Rotation” property in AutoKey mode, then a keyframe is also created in this other place (Green triangle)

It is very common for more than one property to change in the same keyframe. I just do not know in which keyframe this or that property was changed, and therefore I change all the properties in the “Uber-key” mode so that they are applied to the entire timeline.

Please make it easy to label the changed property values ​​in the keyframe. For example, you can do it as in the program “Spine”.

Each property has an icon with a key. When the time indicator is located on a keyframe, then if the property is changed, the icon with the key is green, if there are no changes to the property, the icon with the key is red. Or instead of a key icon opposite each property, you can make a stopwatch icon like in After Effects.

This is how it can be implemented in Mocha Pro, opposite the property, you can set an icon with a key that will have a red or green color, or put the rectangle of the property value in a red or green rectangle.


In the DOPE SHEET section, make the horizontal scroll bar lighter, since due to the same color, it is hidden.


If you select a group of layers in the “Layers” panel, then you cannot add content to all layers through the INSERT block in this group. Add this option.

When selecting the group in which the layers are placed in the Layers panel, the addition of content through the settings shown in the screenshot of is disabled.

Add an option to insert content into all nested layers in a group when the group is selected.


There are situations when all the technologies and methods of fixing the surface to the object have been applied, but the inserted content is still displaced, and it is precisely this video with the object in this form that the customer needs, and it cannot be deleted.

In this case, I got an idea. Watch the video demo at the link:

In the video, the car is surrounded by splines and surfaces that are reasonably well anchored. But the image area on the front bumper numbered is constantly shifting, which ruins the whole week’s work. Believe me, I have tried all the methods, all the technologies proposed by you. I have studied all your 300 videos on the website and YouTube channel, but I have not found a solution. Therefore, the idea is from me.

In situations where nothing helps, when the content of the surface moves, even if the surface is fixed according to all the rules and technologies, you can fix the surface by changing its position through the animation of properties in INSERT - TRANSFORM.

If there was an additional fixation of the surface content at this place by changing coordinates and other properties in INSERT - TRANSFORM through animation of these properties over time, it would be cool.

For example, if the content of the surface over time, after applying all the anchoring methods, is still shifted 5 pixels to the left from the beginning to the end of the video, then the Position property has the first value at the beginning of video 0, and at the end of video 5, shifting the surface to the right. But over time, this surface remains stationary.

Or the plane in the video is shifted in one direction by 5 pixels, and using the Position property, the surface is shifted by 5 pixels in the other direction through the animation of this property. And the surface itself stands still with this stabilization.


The ATTACH LAYER tool can attach one spline located in one layer to another spline from another layer.

Make this tool connect splines created in one layer.


In the “ADJUSTTRACK” block, after fixing the surface to the timeline, many keyframes appear, marked with blue flags. Each keyframe contains surface adjustment data.

If it becomes necessary to determine the keyframes on which the master points are installed, you need to set the time indicator at each keyframe and look at the color of the points on the video.

Therefore, to quickly find the keyframe flag with master dots, you can make it red, or a color other than blue.

In the example,

there are many keyframes marked with blue flags, but the master point keyframe is marked with an orange rectangle. If you change the color of such a keyframe, the point master will be found very quickly.

Thanks for the detailed feedback, we will let @martinb know.