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You drop a short interview clip into a 16:9 timeline in DaVinci Resolve. The lower third the client requested feels flat, so you open the mKBHD library and pull a clean, geometric title across the track. The preset lands with its own animation curve and colour treatment already mapped. A few adjustments to the text string and it sits naturally against the footage.
- The package groups 45 titles and 6 transitions, all drawn from effects Marques Brownlee uses in his own productions.
- Each preset arrives as a self-contained block of type, shape and motion. You change the copy and timing without rebuilding the animation.
- Titles and transitions live in separate folders. In Final Cut Pro they install under Motion Templates, which keeps the browser tidy.
- The plugin adapts to a horizontal or vertical frame. DaVinci Resolve and Final Cut Pro handle both aspect ratios directly.
- Controls are minimal by design. A preset gives you a look; the edit suite handles the rest of the signal chain.
What the plugin does is compress a set of editorial decisions into a drag-and-drop library. It does not add a new effects engine or a separate panel. The presets inherit the host application's render path, so they behave like native titles and transitions. That makes the tool feel quiet in a project — it adds a visual language without pulling attention away from the timeline.
What the Recent Release Changed in Daily Use
The addition of 51 ready-made presets did more than expand the library count. It filled gaps that editors had been patching with manual keyframes. The earlier version leaned heavily on title cards. Now you find a spread of animated lower thirds, callout overlays and transition wipes that share a consistent motion language. In practice that means you reach for the plugin in more places during an edit, rather than using it only for the hero text moments.
The presets arrive with timing already shaped. A transition runs around 12 to 18 frames by default, which suits the pace of a tech review or a product walk-through without trimming. Titles include a subtle ease-out that mirrors the deceleration curve MKBHD uses in his own channel graphics. The result is a library that feels purpose-built for a specific editing rhythm, not a generic motion pack stretched to fit.
No pre-render delay on Apple Silicon
Because the presets are native Final Cut Pro titles and transitions, they lean on the host renderer. On an Apple Silicon Mac the playback is immediate — a title appears in the viewer with no pre-render delay, and scrubbing across a transition shows the full motion path without dropped frames. The plugin adds no background processes, no separate render cache and no licence-check dialogs that stall the application launch.
Memory use stays flat. A timeline with half a dozen mKBHD titles applied registers no measurable jump in Final Cut Pro's RAM footprint beyond what the source clips already demand. The DaVinci Resolve version behaves similarly, though the Fusion-based presets do trigger a short compile step the first time they appear on the timeline. After that the node tree is cached and subsequent adjustments feel snappy.
One thing to note: the Premiere Pro presets route through After Effects, even if you never open it. The dynamic link keeps the render pipeline clean, but on a machine without After Effects installed the presets simply do not appear. The plugin does not warn you — a small friction point if you install the pack without reading the requirements.
Built-in scale compensation for vertical video
A few details hide in plain sight. The title presets include a built-in scale compensation. When you switch a project from horizontal to vertical in Final Cut Pro or DaVinci Resolve, the type block repositions rather than scaling down and shrinking the text to unreadable sizes. You do not need to adjust anchor points or nest the title inside a compound clip.
The transition folder also includes a handful of sound-designed whoosh presets that match the visual motion. Dragging a transition onto an edit point pulls in both the animated matte and a short audio sting, provided the timeline has an available audio track. You can disable the audio layer in the inspector, but having it bundled saves a trip to a sound library.
Another quiet feature: all presets respect the host application's colour management. A title applied in a Rec. 709 timeline looks correct alongside log footage without an extra LUT node. The plugin reads the project colour space and adjusts the generated elements, so the bright whites in a lower third do not clip unexpectedly.
A Title-and-B-Roll Flow from Start to Finish
A common task is building a product highlight reel that opens with a bold title card and cuts to close-up b-roll. Here is how the plugin fits into that workflow in Final Cut Pro:
- Drop the main product clip onto the primary storyline and set in and out points for a clean three-second opening shot.
- Open the Titles browser under Motion Templates and locate the Hero Title preset. Drag it above the clip at the playhead.
- Double-click the title text in the viewer and type the product name. The preset auto-sizes the type block; no manual kerning needed.
- Trim the title's duration to match the clip. The animation curve eases out at the tail, so the text lingers naturally as the b-roll begins.
- Set a blade cut where the b-roll transitions. Open the Transitions folder, find a geometric wipe that shares the same accent colour, and drop it onto the edit point. Adjust the wipe duration to 14 frames to keep the pace brisk.
- Add a Spec Callout title over the first b-roll segment. Type the key feature, align the callout to the product detail visible in the shot, and reduce the preset's scale by 10% so it sits tighter against the subject.
- Play back the sequence. The hero title, transition wipe and callout share consistent motion curves and colour accents, so the three elements feel like parts of a single graphic package even though they were applied from different presets.
The whole sequence takes under two minutes to assemble. The plugin's value here is not in flashy effects but in the pre-coordinated design choices — type weight, motion duration, colour palette — that let you move through the edit without second-guessing the graphics.
