Superimposed graphic pops

I've just spent an hour on deadline trying to figure out why a superimposed text layer (sorry, Connected Clip) exported from Motion as ProRes 4444 pops when an underlying clip on the main vision layer (it's not a track!)  starts to fade up from black. So the title starts to fade up first, then the pictures beneath, and it all renders and plays fine in an FCP X ProRes 422 (HQ) sequence (sorry, Project) until... I export (er... Share) it, natively as 422 (HQ).
Then in the output Master File on the first frame of underlying vision, when its opacity is 0, the still-fading-up hard-baked text above pops. I've tried both rubber bandng and adding a dissove (where I began), tried changing composite modes, trashed render files and re-rendered and the result is the same. Pop! like a weasel.
But I've solved it. By exporting the ProRes 4444 clip from QT Player as dear old Animation, 8 bits and all plus alpha, it now works fine. Seems all 64 bits of FCP X are not enough to successfully deal with its own hero codecs. ProRes 4444, used for its alpha, on top of ProRes 422 (HQ) and all Hades breaks loose. So I now have 6 deliverables - including a lengthy Blu-ray encode - to make again.
<rant>
I had given FCP X credit for a rapid rise to adulthood but I was wrong. It's the wrong tool for file-based deliveries - don't even mention tape. It's just not predictable enough to use for mastering. Popping text, audio channel attenuation, slippy slidy magnetic unlockable timeline, with a dumbed down manual... quick and dirty for a sports channel, sure. Film, DCP, TV with standards - no.
Resolve 10 is now out and even as beta it seems a good deal more sensible than this rogue app. A few more years gurgling in its paddling pool for this one. So from now I plan to master in Resolve.
</rant>

Geez Tom, who's sniping now? You didn't need to read this post, much less take the time to reply.
ProRes 422 (HQ) 1080/23.98P, with a layer rendered from Motion with pre multiplied alpha, which previews fine, renders fine and produces a master file with a level/opacity change that affects only the upper layer, on the cut, when the lower layer is at 0 opacity, as it heads for 100% over 24 frames.
But you're right, I didn't come here to ask a question, that's why my post isn't marked as one. I came to make a point, for the benefit of others who may rely on FCP X to pay their bills in lieu of some other tool. Pardon my negativity - is unqualified happy clappy endorsement the only stance allowed here? How times have changed since v1.25!
I'm sure a dedicated tiny team are working their butts off in a company that now makes phones for a living, to keep the Pro Apps fire burning. They deserve our full support, and any critique of the app should not be taken as disrespectful or heretical. But in a company as opaque as Apple, it's up to us to forewarn one another when things are amiss.
Take the issue with mono stems - a standard deliverable from a mix, to be combined with FCP X's stunningly beautiful pictures for output to anything, except they emerge 6dB undercooked. Now that's a niche issue, hardly worthy of note - but when you're not putting your show out to a deck with meters you have to trust that the app isn't messing with stuff you're not really in a position to monitor as it happens. When it betrays your trust, that's significant.
We've all invested heavily in FCP's learning curves over the years, but its orientation has changed and it's harder to trust FCP X to do the things it claims to be built for - file based delivery - when timelines slide around, source timecode is obscured, TC fields can't be copied - all things that matter when you're outputting a show you didn't necessarily cut yourself,  trying to hold it in one piece to create deliverables. And whatever happened to reference movies? Everything's a self-contained render these days, even if all you want is quick a ref you can strip some audio tracks from or truncate for a DVD encode. QuickTime Pro gets a lot of use.
FCP X is a great starting point - I'm not sure it's a great finishing point when elements are coming in finished form from other places. Blew away half a day on this one. For your respectful guidance only.

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