IntroductionWelcome| 00:00 | Hello! I'm Ian Robinson and welcome to Motion 3 Essential Training.
In this course, I'm going to give you the tools you'll need
| | 00:07 | to understand the essentials in Motion, and more importantly
some essential techniques for motion graphics. Just so you know
| | 00:13 | where I'm coming from, in addition to being a teacher I'm
also a professional motion graphic designer. I'm President and
| | 00:19 | co-owner of SoftBox Media and I have done a lot of work with the
Discovery Channel Networks, National Geographic and a number of
| | 00:25 | other post production and production facilities.
I love using Motion primarily because of its
| | 00:30 | real-time capabilities. It really helps me turnaround those tight
deadline projects. Its integration with Final Cut Pro is also
| | 00:37 | another huge asset especially when I'm working in a collaborative
environment with other editors. Motion 3's new addition
| | 00:43 | of 3D now puts me into place where I can use Motion as
my primary motion graphic application. So let's get started.
| | Collapse this transcript |
| Why use Motion?| 00:00 | I thought some of you might find this video helpful since Motion is
still a relatively young application. So one of the first reasons
| | 00:07 | I like working with Motion is the fact that it's a part of Final
Cut Studio. It cuts down on a lot of rendering and importing
| | 00:13 | when you use the process called Round Tripping. It's a lot
easier to manipulate graphics and objects than in Final Cut Pro.
| | 00:20 | Also Motion is integrated with all the
studio apps, so it's easy to make changes.
| | 00:24 | If you are an After Effects user, I've found that Motion's strong points
make it a very viable option when creating certain kinds of graphics.
| | 00:32 | For example, organic animations. If you are trying to create
something that looks and moves in an organic fashion I've found
| | 00:39 | Motion's behaviors and real-time capabilities to be far superior
to any other motion graphic application I have ever used.
| | 00:46 | For example, a particle system. Often what makes particle
systems interesting is the way all the particles move.
| | 00:53 | Well in Motion, you can watch the particles
| | 00:55 | as you make adjustments in real-time. This saves me a ton
of time and money and heartache if a client is in the room.
| | 01:02 | The next thing that's always strong is its patterns. With the
Replicator in Motion it's very easy to create patterns that are
| | 01:08 | fully capable of animating throughout the entire pattern. Again
in real-time. Another thing is camera moves. With the new camera
| | 01:16 | move behaviors it's very easy to create camera moves that
we usually be a pain to create using keyframes, again in
| | 01:23 | real-time. I know yeah, if I haven't mentioned it enough already,
real-time! The simple fact that Motion is designed to work in
| | 01:31 | real-time is the single most important reason why I use Motion as a
designer. I found it has a tendency to "free me" from the software.
| | 01:40 | So instead of thinking, how can I keyframe this to behave in a
certain manner, I can just drag sliders until I get exactly what
| | 01:47 | I'm looking for.
| | Collapse this transcript |
| Important definitions| 00:00 | So as we go throughout this course you may hear
some terms that you are not that familiar with.
| | 00:04 | So I designed this video to be a reference for you to come
back at any time if there is a term you don't recognize
| | 00:09 | or just don't remember the definition of.
| | 00:11 | The first terms we'll talk about are Motion specific terms.
| | 00:15 | An Object. This is an image, footage, text, shape,
basically anything that you drag into your composition.
| | 00:22 | A Layer. This is the container that holds objects.
| | 00:27 | Groups are the containers that hold layers.
| | 00:31 | Behaviors are tools for creating organic animations.
| | 00:35 | And a Replicator replicates objects into a pattern.
| | 00:42 | Parameter, a unit of control for an object
or layer within your Motion project.
| | 00:47 | Now, I'll just talk about some general
common terms used for Motion graphics.
| | 00:54 | Particle system, a system made of sprites, reference
objects, particles, an emitter and emitter cells.
| | 01:02 | Filters, also known as effects, they
alter layers or audio in some way.
| | 01:09 | Cameras, these are tools used to simulate real cameras,
and Lights, tools used to simulate real lighting.
| | 01:18 | Composite, this is the combination
of objects, layers and groups.
| | 01:24 | Blend Mode, these are math calculations for
how pixels of layers and group interact.
| | 01:30 | Mask, a tool used to hide or reveal
parts of an object, layer or group.
| | 01:37 | A Key, a method to remove part of an image
based on luma, alpha or color channels.
| | 01:44 | Chroma, otherwise known as Chrominance.
| | 01:47 | It's the measure of color in an
image, often used when pulling a key.
| | 01:52 | Luma, otherwise known as Luminance.
| | 01:54 | The value of brightness in an image
also often used when pulling a key.
| | 02:00 | Matte, a black and white image.
| | 02:02 | White remains, black becomes transparent.
| | 02:07 | Alpha channel, this is the fourth channel of an image.
| | 02:10 | It's the transparency of an object, layer or group.
| | 02:14 | Now that we've defined some of the terms we will be
using throughout this course you'll be more prepared
| | 02:20 | to start using Motion.
| | Collapse this transcript |
| Using the example files| 00:00 | If you are a premium member of the lynda.com Online Training Library
or if you are watching this tutorial on a disc you have access to
| | 00:07 | the exercise files used throughout this course.
| | 00:10 | Once you copy the Exercise Files folder to your computer you'll
notice it's laid out in chapters. So you can choose to either go
| | 00:18 | through each individual chapter in a linear fashion
or if you want to jump to a specific section like 3D,
| | 00:24 | you can jump to the specific project you want to
check out and go through that specific exercise.
| | 00:29 | If you're a monthly or annual subscriber to lynda.com, you
don't have access to the exercise files, but you can still
| | 00:35 | follow along from scratch or create your own assets. Throughout this
course I'm going to use a lot of assets out of the Motion Library.
| | 00:42 | So it's important when you install Motion to do the complete
install, so it installs Motion and all of its assets.
| | 00:49 | Now on occasion when you move project files around, sometimes
the item you used become unlinked. So for example if I
| | 00:56 | open 3D_Replicate right here,
| | 01:01 | you'll see something like this.
| | 01:03 | And that means specifically with this project the Replicate_Video
file is the one that's missing. So I do want to search for
| | 01:10 | the missing media, I just want to use Reconnect. So click
Reconnect and navigate to your Exercise Files folder.
| | 01:17 | So notice the file name at the bottom here, we are looking for
Replicate_Video and all your media should be in the Media folder.
| | 01:23 | Now as long as Show Matching Name Only is checked, once
you get to the right folder, the only file that should be
| | 01:29 | illuminated is the one with the matching
file name. Go ahead and choose it
| | 01:32 | and click Open.
| | 01:35 | Now your project should work beautifully.
So now let's get started working with Motion.
| | Collapse this transcript |
|
|
1. Getting StartedLaunching Motion for the first time| 00:00 | When you launch Motion the first time, you'll come to this Welcome
screen. It's divided up into four sections. The first two just
| | 00:06 | take you to the Apple website.
| | 00:08 | It takes you on some tours of the application
and as well as some online tutorials.
| | 00:13 | The next one, Start with a Template, I will encourage you to
go back to that and reverse engineer some of those templates
| | 00:19 | after you become a little bit more familiar with Motion.
| | 00:22 | So let's choose Start with a New Project and make sure we uncheck
the Show the Welcome Screen at startup option. That way we
| | 00:29 | won't see this anymore whenever we launch Motion. Go ahead
and click Continue, and now we have the Project Preset box.
| | 00:36 | In here if you click on the Preset pull-down you'll
notice all the different resolutions that Motion supports.
| | 00:42 | It even supports Custom resolutions, if you are working
at some resolution outside of one of these Presets.
| | 00:48 | Now for this series, we are going to choose DVCPRO HD 720p24.
The reason, the majority of the footage that was shot,
| | 00:56 | was shot at 720p24.
| | 00:58 | So since we are going to use this throughout the rest of
this course, go ahead and check this Set as Default option.
| | 01:04 | Now you'll see a little dot right here, signifying that every
time we launch Motion, it will default to this resolution.
| | 01:12 | Now there is one little gotcha with this window. It's this Duration
option. You notice when you move your Mouse over that section,
| | 01:19 | it gives you the Text Edit option cursor and it even allows
you to select the text. But if I try to change this to let's
| | 01:25 | say 20, nothing happens. We can change the
Duration later, let's go ahead and click OK.
| | 01:35 | Now that we have Motion open, if you want to change your project
duration, just go up under Edit, Project Properties, and here you can
| | 01:42 | actually change the entire resolution of this
composition or go in and change the Project Duration.
| | 01:49 | So let's go ahead and click Cancel, and now that we have Motion open,
let's get started by looking at some of the basics of the interface,
| | 01:57 | which we will do in our next movie.
| | Collapse this transcript |
| Understanding the Motion interface| 00:00 | In this video, I want to give a most
basic overview of the Motion interface.
| | 00:04 | So you can get comfortable moving around within Motion,
but not be overwhelmed by all the submenus etcetera.
| | 00:10 | This is a title-card for our new segment called
Green Living, I have figured there is no better way
| | 00:14 | to introduce how an application works
until dissector real world example.
| | 00:19 | Before I go to far, I want to show you
all the key commands for the interface.
| | 00:23 | I know that sounds daunting, but believe
it or not, it's very straight-forward.
| | 00:27 | It's Command (Cmd) 1 through 9 and F1 through F8.
| | 00:30 | For example, Cmd+1 opens my File Browser and
then I am just going to click through the rest.
| | 00:39 | Cmd+2, 3, 4, 5, 6, 7, 8 and 9.
| | 00:46 | Now, I know you're probably be asking,
what are all these different things?
| | 00:49 | Don't worry about it, we are going to get to it in a second.
| | 00:51 | I just want to show you, how straight
forward these key commands are.
| | 00:55 | So I did say the F commands as well.
| | 00:56 | So let's see, F1, F2, F3, F4, F5, F6,
F7, F8, which make things full-screen.
| | 01:00 | So I am going to hit F8 one more
time to get back out of that.
| | 01:08 | So now that we've covered the key commands, let's get
started with some of the basics of the actual interface.
| | 01:15 | You'll notice Motion is divided up into two main panels.
| | 01:18 | The left side here we have the Utility window,
which is divided up into three sections.
| | 01:24 | We have the File Browser which functions
just like the File Browser in your Finder.
| | 01:29 | There is also the Library, which is very similar to the File
Browser, but it actually holds all of the different effects,
| | 01:35 | presets and content you can use within your Motion projects.
| | 01:39 | The next tab is the Inspector.
| | 01:41 | This allows you to inspect all the
properties of whatever you have selected,
| | 01:45 | and you notice when you have things selected,
let me go ahead and choose Green Living,
| | 01:50 | it opens up a series of contextual tabs that
will change, based upon what you have selected.
| | 01:56 | So this right panel over here is called the Canvas.
| | 02:00 | The canvas is divided up into a couple of sections.
| | 02:02 | We have the toolbar, which is across the top here,
which contains all of your tools and some shortcuts
| | 02:09 | to adding things like Behaviors and
Filters and Particles as well as some icons
| | 02:15 | to open up different aspects of the interface.
| | 02:18 | The next thing down here is the actual canvas itself.
| | 02:21 | This is what you are actually working on.
| | 02:23 | And at the bottom we have our Transport
controls, which control playback of your project.
| | 02:29 | A window, which shows you exactly where your playhead is,
| | 02:33 | and another window that shows you
the duration of your project.
| | 02:37 | Now there are two other panels that are hidden.
| | 02:40 | Which if you hit F5, it is the Project pane,
which is made up of Layers, Media and Audio.
| | 02:45 | And F6, the Timing pane, which opens up your
Timeline, Keyframe Editor and Audio Editor.
| | 02:51 | And the last thing that's popped up here is
the HUD, which you can access by hitting F7.
| | 02:57 | This is a contextual window that will
change based on what you have selected.
| | 03:02 | It gives you the most commonly used
options for whatever you have selected,
| | 03:05 | without having always jump back to
the Inspector to make your changes.
| | 03:09 | So to recap, Motion has two main windows, the Utility
window and the Canvas, and each one of those is divided
| | 03:15 | up into sub-sections, which we will continue
to reinforce as we move throughout this course.
| | Collapse this transcript |
| Navigating the Canvas| 00:00 | Now the Canvas is really where the magic happens in Motion.
| | 00:03 | Motion was really designed, so you don't
have to use your Timeline all the time.
| | 00:07 | And Apple really wants you to do
things visually, so let's check it out.
| | 00:10 | If don't already have it open, run the 03_Canvas project,
| | 00:14 | and we are going to go through the
Canvas working from the top down.
| | 00:18 | Canvas is on the right side of Motion, and in the upper
left here, we have a bunch of tools that will allow you
| | 00:25 | to select and manipulate objects in your Canvas.
| | 00:28 | The next other tools allow you to create
things from squares to circles, to lines,
| | 00:33 | to custom shape or Paintbrush strokes or text.
| | 00:37 | Masking, we will get to in a second but
basically it allows you to cut things up,
| | 00:41 | and these options right here will allow you to add
filters or different parameters to your objects
| | 00:47 | to create animations or different looks for things.
| | 00:51 | These options on the right are buttons to
open up different sections of the Interface,
| | 00:55 | just in case you forget some of those key commands.
| | 00:58 | The pull downs here are just how the Canvas looks.
| | 01:01 | For example, the magnification or
the resolution you are working at.
| | 01:07 | One of the things I want you to know are the View options.
| | 01:10 | Now, the first thing most people ask
questions about is the Render quality.
| | 01:15 | You don't have to be working at Best quality all the time
| | 01:17 | because you can change these options
when you go to export your project.
| | 01:21 | Typically, I work at Draft resolution
because it's less tasking on the computer.
| | 01:25 | And since we are working in 24p, you
don't need Field Rendering checked.
| | 01:29 | So make sure that's unchecked.
| | 01:32 | The next big section of the Canvas is the Canvas
itself, and I have a couple of key commands
| | 01:38 | that are used to navigate around the Canvas.
| | 01:40 | The first one is Space+Cmd and that
will open up the magnifying glass.
| | 01:46 | So now if I click-and-drag in a specific area, it
will magnify where I started that click-and-drag.
| | 01:53 | Make sure to hit Space and then
Command as opposed to Cmd+Space,
| | 01:58 | because that will open your Spotlight
and we don't want to that.
| | 02:02 | Another key command I use often to
navigate the Canvas is the spacebar.
| | 02:06 | This will bring up your Hand tool and
allow you to drag around the Canvas
| | 02:10 | without actually moving any of the objects on your Canvas.
| | 02:14 | And the last one is Shift+Z.
| | 02:16 | I use this almost instinctively, this will
resize your scene to fit in your Canvas.
| | 02:20 | So let's look at the bottom down here.
| | 02:23 | We have our mini Timeline.
| | 02:25 | That basically allows you to adjust the
timing for whatever object you have selected.
| | 02:30 | This is how I trim and slide objects
within Motion about 90% of the time.
| | 02:35 | I very rarely ever have to open up the Timing pane.
| | 02:38 | This next section here is the Transport
controls, which control playback of your project.
| | 02:44 | On the lower left I can use this to
actually control where my playhead is.
| | 02:49 | If I just click in this field, I can type a number, let's
say 3 seconds, 300 for 3 seconds and when I hit Enter,
| | 02:58 | the playhead will automatically
jump to that specific section.
| | 03:01 | I can also click directly on the playhead
and scrub through my project as well
| | 03:05 | and you will notice, it updates exactly where I am.
| | 03:09 | If use these arrows it will move the
playhead in single frame increments.
| | 03:13 | Now this stopwatch will adjust how this is
being measured whether it's being measured
| | 03:18 | in time code or in actual frame numbers themselves.
| | 03:23 | This window over here to the right
functions in a similar fashion,
| | 03:26 | but this is actually the entire duration of your project.
| | 03:29 | So if you click in here and change the number,
let's say to 20, now my project will be 20 seconds.
| | 03:37 | Now this little arrow with the flat side right next
to it is the playback range and the way that works.
| | 03:44 | When I go ahead and hit Play in my project, when
the playhead gets to the end of my playback range,
| | 03:51 | it will start back at the beginning,
because I have my Loop options checked here.
| | 03:55 | That's really kind of important because as we are using
Motion, you want to be able to change your play range just
| | 04:01 | by dragging around and that way Motion will only
loop on a specific section that you are working with.
| | 04:09 | So the one pane that's hidden that I do work
with on a very regular basis is the Project pane.
| | 04:13 | So hit F5 to open your Project pane, that's
divided up into Layers, Media and Audio.
| | 04:20 | For now we are going to focus on Layers.
| | 04:22 | Layers are made up of Groups.
| | 04:24 | So Groups contain Layers and Layers contain Objects.
| | 04:29 | Whenever you drag something into
your Canvas, for example, this text,
| | 04:34 | whenever it was added to this Canvas,
it automatically created its own Layer.
| | 04:39 | You can also select things like Behaviors, or if
you have Filters you can select those as well.
| | 04:46 | So the Layers tab works in a similar fashion
to Photoshop from the standpoint of visibility.
| | 04:52 | Whatever is on top will be on top of my Canvas,
| | 04:54 | whatever is on bottom will be hidden
based on what's tagged on top of it.
| | 04:59 | And wisely these check boxes determine the visibility
of that group or that specific layer itself.
| | 05:06 | So I know we have covered a lot of information in a very
short time, but I wanted to give a basic overview of some
| | 05:12 | of the different aspects of the Canvas, because as we
move throughout this course, we will get more in depth
| | 05:18 | and I want you to be somewhat familiar
with where these things are.
| | 05:21 | So we are going to pick up in the
next movie with the Timing pane.
| | Collapse this transcript |
| Controlling the Timeline| 00:00 | The Timeline in Motion, while important, really wasn't meant
to be a major part of the application for constant use.
| | 00:06 | That's why they invented the mini Timeline.
| | 00:09 | 90% of the timing changes I do in Motion just
utilize the mini Timeline and a few key commands.
| | 00:15 | So if you don't already have it open
run the 04_Controlling Timeline project.
| | 00:19 | Now, if you are joining me from the last movie,
| | 00:20 | you will remember that I changed my play
range to something ridiculously short.
| | 00:24 | If I go ahead and hit my spacebar here, you'll
notice it only plays a little over a second.
| | 00:29 | So let's change the play range to
something more around 5 seconds.
| | 00:35 | So click right here and type 500 for 5 seconds, and
let's change the play range using a key command.
| | 00:43 | hold down Option+Apple+O or Option+Cmd+O
will snap your play range outpoint.
| | 00:51 | If I did Option+Cmd+I it would
change the play range in point.
| | 00:56 | Now let's open the Timing pane, hit F6.
| | 01:00 | So you notice the Timing pane is actually a direct
reflection of what's going on in the Project pane.
| | 01:05 | If I opened my options for the Title_Text here you'd
notice here I have my Title_Text, my Grow_Shrink behavior,
| | 01:12 | my Green behavior and notice as I am selecting
the different layers in my Timing pane.
| | 01:18 | It's actually selecting it also in my Project pane.
| | 01:21 | Now, if you are not seeing this behavior thing
here, it's probably because you have this unchecked.
| | 01:27 | So it's important to keep all these things checked.
| | 01:29 | Have this one unchecked because it's for audio
and I don't have any audio on this specific clip.
| | 01:34 | This option right here just adjusts the size of the specific
layers within your Timeline and this of course is a Slider
| | 01:42 | that will adjust the magnification
of everything in your Timeline.
| | 01:46 | This Slider down here will reposition where you are in your
Timeline, and obviously this one will do it vertically.
| | 01:54 | So we know how to use the key command
for changing your Playback range,
| | 01:58 | but what's the key command to actually trim a layer?
| | 02:01 | Well, if I want this text, Green to pop on at 1 second, I'll
move playhead to 100 and select the Green Layer and hit I,
| | 02:11 | and you notice both in the mini Timeline
and in the Timing pane that layer's
| | 02:16 | in point has now been trimmed into 1 second.
| | 02:19 | So let's just do it again.
| | 02:21 | Move your playhead to 2 seconds and select the Green
Living layer for the Living text and just hit I again,
| | 02:29 | and so now if we hit our spacebar and
wait for the playhead to loop back,
| | 02:35 | you will notice the text will appear to 1 and 2 seconds.
| | 02:40 | I trims your in point and then O
would in turn trim your outpoint.
| | 02:44 | I don't know if you noticed but I didn't
really do anything in the Timing pane.
| | 02:49 | Everything I did I could have done just by selecting a
layer in the Project pane and then using the key command
| | 02:55 | and noticing the change in the mini Timeline.
| | 02:58 | Now I'd hide this right now, but I want to show
you the last two tabs within the Timing pane.
| | 03:02 | The Keyframe Editor, when you add keyframes
to a specific object like the Defocus filter,
| | 03:09 | it will allow you to edit those keyframes.
| | 03:12 | The Audio Editor will allow you to edit your audio.
| | 03:17 | So as you get more comfortable and familiar with Motion,
try and use the key commands in the mini Timeline.
| | 03:22 | It should save you a lot of time without having to
constantly go back and forth to the Timing pane.
| | Collapse this transcript |
| Using the Toolbar| 00:00 | Working in a Canvas, we're going to have to use a
bunch of different selection and manipulation tools.
| | 00:06 | So in this movie I just want to show you some of the
basics of how to select some objects and transform
| | 00:12 | and apply different manipulations to
them using your tools in your toolbar.
| | 00:16 | So if it's not already open, run the 05_tools project.
| | 00:20 | Go ahead and select the Green text, and you
notice I have this bounding box that pops-up,
| | 00:25 | and in here I can grab anyone of these anchor points.
| | 00:29 | For example on the corners I can click-and-drag and that
will resize my image and you notice I get a Contextual Menu
| | 00:35 | that pops-up that shows me exactly what the dimensions are.
| | 00:38 | If I hold down Shift as I do that it
will keep things in proper proportion.
| | 00:42 | I am just going to undo that.
| | 00:44 | Over here I have my rotation handle.
| | 00:46 | If I click-and-drag it allow me to rotate that object.
| | 00:49 | Now the reason I bring that up, it's rotating around
this thing right here called the Center Point.
| | 00:55 | Well, what if I wanted that center
point to change to a different area?
| | 00:58 | Well, I could change in the justification of this text
| | 01:01 | and that would change the center point,
but I could also use a tool for that.
| | 01:06 | So if you click and hold down your Select tool, the
second option down is the Move Center Point tool.
| | 01:12 | And now I can actually move this center point anywhere
and when I go ahead and grab my Selection tool again,
| | 01:19 | you notice now it will rotate around
that specific center point.
| | 01:22 | Now there are some other tools,
I just want to quickly go over.
| | 01:25 | If you click-and-hold this next option here is
called the Shear tool, and you notice when I chose
| | 01:31 | that it's now changed my handles to these
diagonal looking boxes and if you click-and-drag,
| | 01:36 | this will allow you to adjust the Shear and you'll
notice, it's bending around where that anchor point is.
| | 01:43 | Now you can also change this, just by right-clicking on any
of the handles and adjusting it, you are back to transform
| | 01:50 | and that will go ahead and transform that.
| | 01:52 | Now when I right-clicked it accidentally
selected a different layer.
| | 01:56 | So I am going to open up my Layers tab and select my green
text here and you notice now that I have my Selection tool,
| | 02:03 | it's automatically changed back to my normal bounding
box, so I can go ahead and rotate that, let me Undo that.
| | 02:10 | If you select something graphic like these bars here,
there are a couple of more tools I'd like to show you.
| | 02:14 | If I had a Drop Shadow on this I could actually
freehand manipulate where the Drop Shadow is.
| | 02:19 | But what we are going to cover right
now is this Free Transform option.
| | 02:23 | What this does is allow me to free transform exactly
where I would like each one of these individual points
| | 02:31 | so I could create some drastic distorted
effect for that specific object.
| | 02:37 | So the next set of tools down here, pretty straight
forward with the Hand tool and the Magnifying Glass.
| | 02:41 | This option right here will allow
you to adjust your items in 3D space,
| | 02:47 | which is a little bit advanced for
what I want to get into right now.
| | 02:50 | So we will cover that in one of the Layer chapters.
| | 02:52 | But I did want to make an extra point of just going over
some of these basic tools when you are actually trying
| | 02:58 | to select and manipulate your objects in your Canvas.
| | Collapse this transcript |
| Setting essential preferences| 00:00 | I am in the 06_Essential_Preferences project.
| | 00:03 | Now honestly you can have any project to open.
| | 00:05 | Since we are going to be dealing primarily
with preferences and not the projects.
| | 00:09 | So go to Motion and choose Preferences.
| | 00:13 | The first one I want you to change
is under your Project Settings.
| | 00:16 | This is really important and it can be a major hang-up
if you are used to working in a specific fashion.
| | 00:20 | For example, if you are constantly starting
and stopping playback of your animation
| | 00:25 | and tweaking things, you want to change this setting.
| | 00:28 | Right now, it's set up to Create Layers at
the current frame and what that means is this.
| | 00:34 | Let me just go back to my project here.
| | 00:38 | Let's move our playhead to anywhere in the
middle of the Project 201 and create an object.
| | 00:44 | I am going to create this box.
| | 00:45 | If I just dragged-and-dropped something,
it will automatically add that as well.
| | 00:49 | But you notice this rectangle will not exist until 201.
| | 00:54 | Now this can be kind of problematic if you are
again starting and stopping your animations.
| | 00:59 | Go ahead and change this to start a project.
| | 01:01 | So now when you go ahead and add something into your
Canvas, you'll notice it starts automatically at the start
| | 01:08 | of your project, regardless of where your playhead is.
| | 01:10 | I know it was a bigger side, but it was really
important preference I wanted you to change.
| | 01:16 | Let's look at some of the General Preferences.
| | 01:17 | If you want to bring up your Welcome
screen, just go ahead and change this
| | 01:21 | At Startup pull down back to your Welcome screen.
| | 01:24 | Now if you are on a laptop and hard drive space is little
premium, this is where you can change your Library Path.
| | 01:30 | Motion references, gigs and gigs of information, so if
you need to change that, you can navigate to this folder
| | 01:35 | and just copy it to a different
drive, then open up your Preferences,
| | 01:40 | click Choose and relink it by clicking the Choose button.
| | 01:44 | That way you saved yourself a ton of hard drive space.
| | 01:47 | Another important preference under
the Project Settings is Large Stills.
| | 01:53 | Right now it's set to Scale to Canvas Size.
| | 01:55 | What that means, if I drag a still image that's larger
than the size of the resolution I am working at,
| | 02:01 | it will automatically resize that
image to fit to the canvas.
| | 02:05 | So typically I leave this set up, but some
people prefer to have it actually do nothing
| | 02:11 | or actually down-res the image to canvas size.
| | 02:14 | That will re-sample your image.
| | 02:16 | So when it comes in a motion, it doesn't bug
down trying to process such a large file.
| | 02:22 | If you are in your Cache Options, this
is where you can set your Autosave Vault.
| | 02:27 | If you constantly work and forget to save all the time,
you can change how often you'd like it to save a backup.
| | 02:33 | This is also where you can change,
where it saves your Autosave.
| | 02:36 | You can change other things that are cached as
well, such as your Retiming data or cache path,
| | 02:42 | which we'll get to as we continue throughout this course.
| | 02:45 | If you've got a black magic card or an NTSC output
you want to go to your output preferences and this is
| | 02:51 | where you can change your video output to
actually output a mere of whatever is going
| | 02:56 | on in your canvas onto your NTSC monitor.
| | 02:59 | And Presets, these are the same presets you saw
when we opened up Motion for the very first time.
| | 03:05 | This is where you can actually
duplicate your presets and edit them
| | 03:09 | and create a new default, every time you open Motion.
| | 03:12 | In this last thing, I am just going to brush over.
| | 03:15 | It's called Gestures.
| | 03:16 | Basically, if you have a Wacom Tablet Motion
supports controlling playback in different aspects
| | 03:22 | of the application using gestures on a Wacom Tablet.
| | 03:27 | So now that we've covered some of Motion's essential
preferences, let's move on so I can show you how
| | 03:31 | to customize Motion's keyboard
shortcuts to your own personal likings.
| | Collapse this transcript |
| Customizing your keyboard| 00:00 | I am in the 07_Keyboard project but honestly you could be
in any project you like right now because we're just going
| | 00:07 | to go over how to customize our keyboard commands.
| | 00:10 | Now this movie is specially for all of you
Final Cut Pro users and After Effects users,
| | 00:14 | that would prefer just using the keyboard shortcuts
you already know and love right here within Motion.
| | 00:20 | So let's get started with the Final Cut Pro users.
| | 00:23 | Go up to Motion, click on Commands, go to
Final Cut Pro set and choose your language.
| | 00:31 | Now every key command you've learned in Final
Cut Pro works the exact same way in Motion.
| | 00:36 | Pretty sweet!
| | 00:37 | Well, if we go up to Motion and Commands
and change it back to the Standard Set,
| | 00:43 | let's show how we can really customize key by key.
| | 00:46 | Go to Motion, Commands and choose Customize.
| | 00:51 | And you notice, now we have a Full Command Editor,
this is one of the new wonderful features in Motion 3.
| | 00:57 | Now this is the Standard Set, if you click on a
specific key it will show you exactly what that key does
| | 01:03 | and what modifiers you have to hold
down to add those specific things.
| | 01:08 | So if I hit Shift+Cmd+L it will create a New Light.
| | 01:13 | Well, let's say I want to use an After Effects
command for trimming a layer's end point.
| | 01:17 | In Motion I know it's I, so let's look it up.
| | 01:20 | If I click on the pull-down here and
choose Key Equivalent and I type I,
| | 01:25 | it will now show me all the different
commands that are typed to I.
| | 01:30 | Let's select Mark In; it sets the end point
of the selected object to the current time.
| | 01:35 | Well, that's pretty much like trimming
the layer in After Effects.
| | 01:38 | Let's hold down Option and hit Left Bracket
and you will get this message, it says,
| | 01:43 | The Command Sets "Standard Set" is
owned by Motion and can not be edited.
| | 01:47 | So let's make a copy.
| | 01:49 | I'll just call this Ian's example.
| | 01:53 | You can call yours, whatever you would like and click OK.
| | 01:57 | Now I'll try this again, I'll select the
Mark In and hold down Option and Left Bracket
| | 02:04 | and now I've reset my trim command
to function with those key commands.
| | 02:10 | So let's look it up.
| | 02:11 | I am going to type left bracket here, and
if you notice now Option, Left Bracket,
| | 02:19 | sets the endpoint of the selected
object to the current time.
| | 02:22 | Now you notice it didn't delete the previous one.
| | 02:25 | So if I go back to I and find that- If you want
to delete one, what you have to do is hit Delete,
| | 02:32 | and now that key command has been deleted.
| | 02:35 | So the only way we can trim a layer's end
point is with the Option+Left Bracket command.
| | 02:40 | You can go through key by key and customize each individual
thing to your own personal liking, and once you are done,
| | 02:48 | go up to this pull-down and choose Export.
| | 02:52 | So this allows you to create a file, which you
can copy to whatever system you are working on,
| | 02:56 | and load your own custom key commands into Motion.
| | 02:59 | So you can continue working with
your own custom key commands.
| | Collapse this transcript |
|
|
2. Adding Assets to a ProjectAdding outside assets| 00:00 | Motion has a great tool set for creating graphics natively
within the application, but we all know that about 99.9%
| | 00:07 | of designers use Illustrator or Photoshop
at some point in their creative process.
| | 00:11 | So for this movie we're not just
importing video but we're also going
| | 00:14 | to import a layered Photoshop document
as well as an Illustrator file.
| | 00:18 | We're working in the 01_AddingAssets project,
so let's go ahead and add some assets.
| | 00:23 | So in your File Browser navigate to the Media folder
and in there let's start with some background footage
| | 00:31 | and just select the Yoga Morning footage,
notice it's playing back up here, beautiful!
| | 00:37 | Now go ahead and drag-and-drop that footage, and you should
notice these yellow guides popping-up, that's snapping,
| | 00:43 | and basically Snapping is a feature that helps align
elements in your canvas and since I don't have anything
| | 00:48 | on my canvas yet, it's snapping the center
of my footage to the center of the canvas.
| | 00:53 | Let me go ahead and let go and there is the footage.
| | 00:56 | Now if Snapping didn't come on for you, just go up
under View and choose Snap or hit N on your keyboard,
| | 01:02 | you Final Cut users should recognize that.
| | 01:05 | So now let's go ahead and close that, and make sure you
have your footage there in the center of the canvas.
| | 01:11 | So typically the way I would work in Motion is to
actually keep things in Motion and continue designing.
| | 01:16 | So let's go and hit the spacebar and you'll
notice this footage plays back quite easily
| | 01:20 | at a full 24 frames a second, and I would usually
continue adding elements and layering things
| | 01:28 | and watching how things turn out in real-time, but
since this movie is actually about adding assets
| | 01:33 | and I don't want you to get distracted
by all the pretty moving pictures.
| | 01:36 | I am going to go ahead and hit the spacebar and
stop it and click this little button right here
| | 01:41 | and move my playhead back to the beginning.
| | 01:43 | Let's go ahead and import a layered Photoshop document.
| | 01:47 | So navigate in your File Browser, back to the Media folder
and this time we want to go into the Graphics folder.
| | 01:54 | In here you should find the YogaBoxes.psd and
we can go ahead and drag-and-drop that as well,
| | 01:59 | making sure that it snaps to the center and then just hold
down for a second and let this contextual menu pop-up,
| | 02:05 | and those of you DVD Studio Pro users should recognize
this, it's the same pop-up menu as in DVD Studio Pro.
| | 02:12 | So I can import Merge Layers or I can
import All Layers or Individual Layers.
| | 02:19 | Let's go ahead and import All Layers, and let go.
| | 02:22 | There I have some nice pretty smooth
bars that were created in Photoshop.
| | 02:27 | Let's go ahead and add the Illustrator file.
| | 02:29 | So this time I'd like you to select the Illustrator files,
| | 02:32 | instead of dragging-and-dropping it let's
go ahead and click on the Import button.
| | 02:36 | Whenever we use the Import button Motion automatically
places the file in the center of your canvas.
| | 02:41 | So let's go ahead and position this
right up in the center of the bar.
| | 02:45 | Now you notice Snapping is actually working
with all of the elements in my canvas now.
| | 02:49 | So make sure it's nice and centered, and part of the
reason I created my text in Illustrator is the fact
| | 02:56 | that Illustrator is a Vector-based application.
| | 02:58 | Now vectors mean you can scale things up
infinitely and edges will remain nice and sharp.
| | 03:03 | Now this should work beautifully, but
honestly as I scale this holding Shift+Option,
| | 03:09 | you'll notice Motion by default doesn't really do this.
| | 03:12 | So, let's go ahead and fix that.
| | 03:14 | Hit Cmd+5 which opens up your Media tab and we will
reinforce these tabs and panels a little bit later
| | 03:21 | in the title, but for now just hit Cmd+5 and select
your Illustrator file and head to your Inspector
| | 03:28 | and make sure you are on the Media tab and make sure
this Fixed Resolution box is unchecked and voila!
| | 03:35 | Now we have nice and smooth text.
| | 03:38 | Let's go back to the Layers tab and select your wakeup
text and go to the Properties tab and we'll just click
| | 03:46 | in this box and retype the scale back to 100.
| | 03:49 | So now we can go ahead and hit F5, which will close our
Project pane here and deselect the text and go ahead
| | 03:57 | and hit your spacebar and checkout this beautiful
moving motion graphic that we've actually created.
| | 04:03 | So as you can see Motion can import
a wide variety of files and formats
| | 04:09 | into one single project and make a beautiful graphic.
| | Collapse this transcript |
| Using Library content| 00:00 | Here is my title card.
| | 00:01 | It's nice but a little boring in my opinion.
| | 00:04 | So in this movie we're going to
learn how to use the Library,
| | 00:07 | and hopefully spice this title up a little in the process.
| | 00:11 | So go ahead and click on the Library tab or hit Cmd+2
and let's checkout some of the things in the Library.
| | 00:19 | If you look at the rest of the movies in this title, you
will notice that we will be covering most of these things
| | 00:24 | in the future, but for now, let's just follow along
| | 00:27 | so I can give you a basic overview
of some of the things in the Library.
| | 00:30 | So if you click on Behaviors here and click on Basic
Motion one of the things that I love, click on Grow/Shrink.
| | 00:38 | In the upper left here it gives you a beautiful
visual preview of exactly what the behavior does,
| | 00:43 | and not only is it visually reinforcing things,
but it's actually spelling it out for you.
| | 00:48 | So this one scales an object larger or
smaller, continuously or to a specific value.
| | 00:54 | It's pretty precise.
| | 00:55 | So I love the Library, it just continues
to reinforce my visual proclivities.
| | 01:03 | So as you can see there are a lot of things in this Library,
| | 01:06 | so one of the things Motion has actually
done is built in a Search feature.
| | 01:11 | So what I'd like to do for this graphic is
add something with a little bit of a glow
| | 01:17 | to just give it a little bit more sense of depth
and a little -- something little bit more ethereal.
| | 01:22 | So let's search around here and I am just going to type
glow, and you notice there are a couple of things I could do
| | 01:32 | with my text, but I will be getting
to Behaviors in a second.
| | 01:37 | Let's look for some content I could actually add.
| | 01:40 | Now you notice as I am clicking through each
one of these things I have the word glow up here
| | 01:44 | and it's actually eliminating all of the
things within each individual category.
| | 01:51 | So it's really nice, I can type the keyword and then look
| | 01:54 | around in each individual category to
find exactly what I am looking for.
| | 02:00 | One of the gotchas with this is,
it also -- if you'd hit spacebar --
| | 02:06 | will allow you to have absolutely nothing
in the Search field and really freak you
| | 02:10 | out that your Library is completely empty.
| | 02:12 | So it's really important to keep your eye out for
this little X. So let me go ahead and clear that out,
| | 02:17 | I am going to type the word glow again and I believe I
saw something under particle emitters, yes, the Line Glow.
| | 02:24 | Let's go ahead and apply that, go ahead and click the
Apply button, and hit the spacebar to begin playback
| | 02:31 | in your project, making sure your
canvas is selected, hit the spacebar
| | 02:35 | and there we go, you have a beautiful line glow.
| | 02:38 | Let's go ahead and select it and just
drag it right up there and that's it.
| | 02:45 | We have added some content from the Library.
| | 02:48 | So as you can see the Library really is a key part of
Motion and I really encourage you to use it early and often.
| | Collapse this transcript |
| Working with layers| 00:00 | Looking at this project you can
see we have a box and some text.
| | 00:04 | I know, it doesn't look very promising but
with a little help from my layers and some copying
| | 00:08 | and trimming we'll have an
interesting animation in no time.
| | 00:11 | So you might be asking yourself, what's a layer?
| | 00:14 | Well, layers are actually created any time
you drag anything into your Motion project.
| | 00:19 | So go ahead and hit F5 and open up your Layers tab.
| | 00:23 | Now if you notice my canvas automatically scaled.
| | 00:27 | Let me go ahead and hit F5 once again.
| | 00:29 | And so if it didn't, the key
command you want to do is Shift+Z
| | 00:34 | that will automatically rescale your canvas any time
you open any of your palettes. So back to Layers.
| | 00:40 | What we've got here are two layers in one group, a rectangle
layer, an Old Technology layer, which is text, and a group.
| | 00:48 | Now those of you joining us from Motion 2 are probably, Wha?
| | 00:52 | Yeah, Apple completely changed the nomenclature
for the Layers tab between Motion 2 and Motion 3.
| | 00:57 | What used to be an object is now, in my opinion,
correctly named a Layer and what used to be a layer is now,
| | 01:05 | again in my opinion, correctly named a Group.
| | 01:08 | So just kind of bear that in mind if you
are joining us from the previous version.
| | 01:12 | If you are in Motion 3 for the first time, go ahead
and just enjoy the fact of things are now aptly named.
| | 01:19 | One of the things about the Layers tab is it's
completely redundant with the Timing pane.
| | 01:24 | If you hit F6, open up your Timeline and here
you'll notice I have the same group, same rectangle,
| | 01:29 | and as I select things in my Timeline notice
it is selecting things in the Layer tab.
| | 01:34 | Now I must say I very rarely use the Timeline
because most of the time I am changing the timings
| | 01:40 | of things using the mini Timeline and
we'll do that a little later in this movie,
| | 01:43 | but for now go ahead and hit F6 and hide your Timeline pane.
| | 01:48 | Like I said this is not very inspiring.
| | 01:50 | So let's go ahead and spice things
up by duplicating this rectangle.
| | 01:54 | Hold down Option and drag the rectangle up and voila!
| | 02:00 | Now we have a copy of this layer.
| | 02:03 | Go ahead and click in your canvas and
reposition this anywhere on the screen,
| | 02:06 | I am just going to start randomly copying and
positioning these boxes around the screen.
| | 02:11 | You can feel free to place yours wherever.
| | 02:13 | You can Option+Drag in the Layers
tab and you can also Option+Drag
| | 02:19 | in your Canvas and now it will duplicate the objects.
| | 02:23 | So just go ahead and duplicate
things randomly around the screen
| | 02:27 | and you will notice my Snapping guides are nicely
popping all around as I drag these different boxes.
| | 02:34 | And as you can see very quickly I am starting to run
out of distinction between all the different boxes here.
| | 02:43 | So let's go ahead and add some color.
| | 02:46 | Go ahead and select your topmost layer
and hit F7 which brings up your HUD,
| | 02:51 | you could also come up hear to the top and click on this.
| | 02:54 | But this is one of my favorite features.
| | 02:56 | If you right-click right in the Color wall
there you can go ahead and change the color.
| | 03:01 | So I am just going to go ahead and try and
change these boxes to some primary colors
| | 03:05 | since it's title is called Old Technology.
| | 03:09 | And as you change the color, go ahead and double-click
the layer and rename it whatever the color is.
| | 03:17 | So feel free to jump around and color all of your boxes.
| | 03:21 | Now I am going to go ahead and make
this yellow and rename the layer Yellow,
| | 03:31 | and I will make this one red and rename it Red.
| | 03:39 | Let's go ahead and make this one
purple, we'll rename it Purple.
| | 03:50 | Next one, let's try orange if I could
find orange, come on, there we go.
| | 03:58 | It's kind of a burnt orange, but close enough and
we'll make the last one I don't know Light Blue.
| | 04:15 | And since I have two blues I'll go ahead
and rename this blue up here with Dark Blue.
| | 04:23 | Now that we have these named let's go ahead and
reposition them around the screen a little more
| | 04:29 | and this time I want you to actually
go ahead and scale things.
| | 04:32 | So click in the corner and hold down Shift and the
scale, and you'll notice as I scale some of these some
| | 04:41 | of the layers are actually going to become hidden and if you
find this is happening with you go ahead and move your Mouse
| | 04:47 | over the area you'd like to expose and utilize this feature
called Expose, hit X and it will fan everything else
| | 04:54 | so now I can in my Canvas select the orange
layer and scale that and move it accordingly.
| | 05:03 | And let's go ahead and scale purple.
| | 05:05 | I was just showing you how you can re-organize things in
a canvas using Expose but really to move things on top
| | 05:12 | of one another much like in Photoshop you
just drag your layers one on top of the other.
| | 05:16 | Now one thing to keep in mind in motion, when you are
dragging your layers you want to make sure not to drag them
| | 05:23 | down and to the left or up and to the left
because you will get this plus button (+).
| | 05:27 | Now what happens here is it's actually going to group that
layer into a new separate group, and we will get to that
| | 05:34 | in a little while but not going to do that right now.
| | 05:36 | So make sure you haven't actually dragged anything to a new
group, and if you have just go ahead and drag it right back
| | 05:44 | up into the main group and delete the old one.
| | 05:47 | So now that we have some boxes positioned around
the screen let's go ahead and change the timing.
| | 05:53 | I am going to use the real-time feature here in Motion, and
a shortcut that you will probably recognize from Final Cuts,
| | 06:00 | go ahead and hit the spacebar, get your project playing and
again, you don't have to match my timings, just go ahead
| | 06:06 | and select individual objects and with the playhead
playing go ahead and hit I to mark you in point
| | 06:13 | and your Timeline and then O to mark your out point.
| | 06:16 | And you notice down here in the mini Timeline as
I was hitting in and out the layer was trimming
| | 06:22 | in the mini Timeline to my in and out points.
| | 06:26 | So go ahead and let's go through
some of the other layers here.
| | 06:29 | Click on your next box down and hit I and
hit O. Some of them you can make short I,
| | 06:38 | O and others of them you can make quite long.
| | 06:42 | Go ahead and hit I and O. So feel free
to do that with all of your layers.
| | 06:50 | When you are done trimming your in and out points,
go ahead and sit back and admire the handy work,
| | 06:54 | we couldn't created without the use of Layers.
| | Collapse this transcript |
| Working with groups| 00:00 | Groups are for all intents and
purposes containers for layers.
| | 00:04 | For those of you coming from Final Cut
or After Effects, I would liken Groups
| | 00:08 | to what happens when you nest or pre-compose something.
| | 00:11 | The difference with Motion, you don't have
to go a separate sequence or composition
| | 00:15 | to view the layers you just group together. And if you have
no idea of what I was just talking about, don't sweat it.
| | 00:21 | Let's get started by getting organized.
| | 00:23 | What we have is one group with a bunch of graphics and a
text layer, and what I'd like to do is group my text layer
| | 00:33 | into one group, and my graphics into another group.
| | 00:36 | So I am going to show you two different ways to do that.
| | 00:38 | So the first way is to select your Group layer
here and go ahead and click the plus button.
| | 00:45 | Let's go ahead and drag your text layer up
into the group you just created. And voila!
| | 00:51 | There we've got one group containing our
text and one group containing our objects.
| | 00:56 | Now I am just going to Undo here
and show you the second way.
| | 01:00 | I typically use the second way to create groups.
| | 01:04 | So click on your text layer and drag it down and
drag it to the left and you will notice the second
| | 01:12 | that T box crosses this little gray line
right here, I get this green plus button
| | 01:16 | and what that's doing is letting me know that
Motion will create a new group for this text layer.
| | 01:22 | So go ahead and rename your group here Text and we will
rename this other group, Boxes, and since I'd like my title
| | 01:33 | to actually appear on top of my graphics, go ahead and drag
this group up to the top and you'll notice when you get
| | 01:38 | up there you will get the green plus button again, but
don't worry, Motion will not create another group for you.
| | 01:45 | It will just organize this group on top of the next one.
| | 01:48 | So we can go ahead and collapse these groups and
let's hit the spacebar and see what we've got.
| | 01:56 | Okay, so we have a bunch of boxes that are just popping
on and off, and well, that's somewhat indicative
| | 02:04 | of old technology, I'd like to actually go
ahead and layer a bunch more of these boxes.
| | 02:10 | And the way we are going to do
that is by duplicating our groups.
| | 02:14 | So in the last movie we duplicated
layers and that was all well and good,
| | 02:17 | but right now let's go ahead and duplicate groups.
| | 02:21 | So hit the spacebar to stop playback
and rewind your playhead
| | 02:26 | to the beginning nearby clicking this little button,
and let's hold down Option and drag the Boxes layer
| | 02:33 | and there we go, we have a copy, it
automatically put at the top of our copy,
| | 02:37 | I am just going to leave it called Boxes copy and what I'd
| | 02:40 | like to do is actually reposition this
in a different part of the screen.
| | 02:43 | Let's go ahead and move that to the bottom, and again
make sure it's to the left, see you get this plus button
| | 02:51 | because if you don't let me Undo and show you.
| | 02:54 | You can actually drag a group into another group,
and we don't really want to do that right now.
| | 03:00 | So make sure when you are dragging your
group, you drag it down to the bottom
| | 03:04 | and you get the little plus button,
in that way it stays in its own group.
| | 03:07 | So go ahead and drag this one more time.
| | 03:12 | Here we go and move that to the bottom here, and now
we're all set we've got multiple boxes, let's go ahead
| | 03:18 | and reposition this next one here down to the bottom,
and let's rotate this, so it is a little bit different.
| | 03:24 | You all remember from the last movies to
rotate, just grab this handle and drag it around
| | 03:29 | and if you hold Shift do the snap to 45 degree
increments and so now I can go ahead and layer this.
| | 03:37 | If you hit your spacebar you will notice everything is
playing at the exact same time, and I really don't want it
| | 03:45 | to appear that way, what I'd like
to do is change the timings of this.
| | 03:51 | So you don't get distracted from everything moving around,
I am just going to stop the playhead for the time being
| | 03:56 | and we will watch this here again in a second.
| | 03:58 | So let me stop that, and rewind my playhead.
| | 04:01 | The way you changed the timing of things just go and select
your group and click in the mini Timeline and drag it.
| | 04:07 | And you notice as you drag you get this wonderful in
and out contextual menu that's showing you exactly
| | 04:13 | when that group is starting and when it's stopping.
| | 04:15 | So go ahead and just change the
timing of your different groups here,
| | 04:20 | and go ahead and hit spacebar and we'll see what we've got.
| | 04:25 | Starting to look kind of cool.
| | 04:27 | I think I want to duplicate one more, I'll go ahead and stop
that, rewind, let's go ahead and duplicate one more group,
| | 04:36 | hold down Option or drag and move it to the bottom,
| | 04:39 | and this time I want to actually scale this
group, so it takes out more of the screen.
| | 04:44 | Again if you drag on a corner and hold
down Shift it will scale in proportion.
| | 04:48 | So now I am going to have a bunch of big boxes here in the
center and let's go ahead and retime that just a little bit,
| | 04:55 | drag it out, and so let's hit the
spacebar and see what we've got.
| | 04:59 | Hey, what do you know?
| | 05:00 | Now we've got a whole bunch of boxes and
they are neatly organized in our Layers tab
| | 05:05 | and we've got a bunch of semi-different timings.
| | 05:10 | To recap, groups are like containers for layers rather
| | 05:13 | than affecting individual layers you can throw
them all into a group and move that around.
| | 05:17 | Grouping layers is the same as
nesting or pre-composing things
| | 05:21 | in other applications like After Effects and Final Cut.
| | 05:24 | And both groups and layers can be
trimmed or sled in the mini Timeline.
| | 05:29 | Now if only organizing my office were so simple.
| | Collapse this transcript |
| Using blend modes| 00:00 | Now suppose you just finished this Old
Technology title animation and the client looked
| | 00:05 | at it and said "Ah, make it newer and
while you are at it I want it to blend more."
| | 00:11 | Now being a good little worker bee,
I would say, "Sure, I can do that,"
| | 00:16 | and then turn to my old trusty friend, the Blend Mode.
| | 00:19 | Basically Blend modes just change the way layers
interact with each other when they are overlapping.
| | 00:23 | To make this project newer let's add some footage.
| | 00:27 | It'll not only reinforce the newer theme but it will
also help me more clearly illustrate Blend modes.
| | 00:32 | So navigate in your File Browser to your Footage folder
and click on Technology. This is the background I want
| | 00:43 | to indeed add to this, so click on it and drag it
and drop it right out into the center of your canvas.
| | 00:48 | Again if your snapping isn't happening, hit N and let go.
| | 00:52 | Now this isn't the same resolution that I
am working in, but that's going to be okay
| | 00:57 | because again this is just a texture to make it look newer.
| | 01:01 | Go ahead and click in any one of the lower corners
and hold down Shift and Option to scale this
| | 01:06 | up to cover the entire background,
and I'd like to actually add this
| | 01:11 | into its own group in the bottom of the Layers tab here.
| | 01:14 | So just drag it and remember drag it to the left
and that will create a new group. There we go.
| | 01:21 | Go ahead and rename your group Background and I'll
just call it Footage as well, Background_Footage.
| | 01:28 | And go ahead and close that.
| | 01:30 | Let's go ahead and move the playhead to a
place where we have some boxes. And 1:08,
| | 01:38 | that's where you should be positioning your playhead.
| | 01:40 | Go ahead and hit F7 and bring up your HUD and
let's go ahead and select the topmost Boxes layer.
| | 01:47 | Now this way I can change the Blend Mode of this
| | 01:49 | and it will adjust how these boxes are
interacting with everything below it.
| | 01:54 | I could sit here for the next few
hours and try and explain each
| | 01:58 | and every one of these Blend modes, but let's face it.
| | 02:01 | Most clients want their changes fast and
I really don't want to get too technical.
| | 02:06 | So I'm going to share a little known fact with you.
| | 02:09 | Most designers have no idea what
each and every Blend Mode does.
| | 02:14 | They operate on the 'what looks good is good' theory.
| | 02:18 | Now that would be a little too
convenient for me to just stop there,
| | 02:21 | so I am going to offer a little guidance for Blend modes.
| | 02:24 | They are organized by groups.
| | 02:27 | Now these aren't hard and fast rules,
they are just meant for guidance.
| | 02:31 | So we have a basic place to start.
| | 02:33 | This first group darkens things, the next group lightens
things. The next group works on the contrast of the layers.
| | 02:42 | This next group works on the comparative aspects
of each layer, compares them and mixes them.
| | 02:49 | This last group and a half works on compositing functions
based on luminance information or alpha information.
| | 02:55 | Now the reason I said, "and a half," this last group works
with information based on a pre-multiplied alpha channel.
| | 03:02 | So there are the basics of the groups. Let's go ahead
and click through and adjust each one of these groups
| | 03:09 | to blend these boxes into the background.
| | 03:12 | So select this first one here and
let's go ahead and click --
| | 03:16 | and what I'd like to do is kind of contrast this a little
bit, so I'll try Soft Light. Not quite. Hard Light, yeah,
| | 03:27 | that's kind of cool. Let's go to the next one here.
| | 03:30 | One thing to note with the Blend modes, open it up.
| | 03:34 | There are Blend modes for each individual
layer and there are Blend modes for groups.
| | 03:39 | I am adjusting the groups just so this
actually blends a little bit faster.
| | 03:44 | You can feel free to adjust the Blend modes of each
individual object if you like, but I will go ahead
| | 03:50 | and adjust for the groups, so go ahead and
click this group and adjust accordingly.
| | 03:56 | Let me see, I'd like to make this little brighter. And
not color dodging... you notice nothing is happening here
| | 04:03 | because it's kind of important to
pay attention where your playhead is.
| | 04:06 | Let me drag that over here and let's adjust.
| | 04:13 | Hmm. I kind of like the Color Dodge,
it makes it sort of nice and dark.
| | 04:17 | Select the next group. again making sure where
the playhead is. Okay, and let's adjust this.
| | 04:30 | Difference, it's really kind of
cool, Exclusion -- I like Difference.
| | 04:36 | And this last group, let's adjust it.
| | 04:38 | That tends to get a little lost.
| | 04:44 | Let's make it a little brighter, let's choose Add.
| | 04:47 | Okay, there we go.
| | 04:49 | The client did say, they wanted to look
newer, so why don't we change the title?
| | 04:54 | Because after all this isn't Old
Technology anymore, it's New Technology.
| | 05:00 | And go ahead and hit Escape to set your type there.
| | 05:04 | I set the type by double-clicking it
and just change the word Old to New.
| | 05:11 | So go ahead and click off your type to set it and
hit your spacebar to checkout what we've done.
| | 05:18 | And there you have it.
| | 05:19 | A designer's guide to Blend modes.
| | 05:21 | Remember, what looks right for your
project is the right Blend mode for you,
| | 05:25 | and if you want to much more in-depth look at Blend modes,
| | 05:27 | you should checkout Deke McClelland's
Photoshop One-on-One Beyond the Basics course.
| | 05:31 | He has a pretty hefty section on Blend
modes that should be more than enough
| | 05:34 | to satisfy anyone's craving for blending.
| | Collapse this transcript |
|
|
3. Working with BehaviorsAdding and adjusting behaviors| 00:00 | You have got a client that needs to see
something before they tell you what they want,
| | 00:04 | and you don't want to start anything
until they have told you what they want.
| | 00:08 | Well, with any ordinary Motion Graphic
application this would be a nightmare,
| | 00:13 | but with Motion once your client sees it with Behaviors
they can change it until the clouds come home.
| | 00:18 | We are working in the 01_AddingAdjustingBehaviors project.
| | 00:21 | If it's not already open go ahead and get it open, and
let's go ahead and select the baseball by hitting F5
| | 00:28 | and clicking on the layer in your Layers tab.
| | 00:31 | What you want to do in this project is
actually have this ball fly-out of the park,
| | 00:36 | and we are going to use Behaviors to do it.
| | 00:39 | Let's browse our Behaviors by going to the Library
and under Behaviors, I want to go to Basic Motion.
| | 00:46 | Let's look at a couple of these.
| | 00:48 | We have the Move.
| | 00:50 | Move moves an object to or from a specific position in 3D.
| | 00:54 | Well, that's a little specific
for what I am trying to do now.
| | 00:57 | I just want the ball to fly-out of
the park, so let's look at Throw.
| | 01:02 | Throw applies a single force to push
an object in a specified direction,
| | 01:08 | much like what happens when you smack a baseball with a bat.
| | 01:12 | Let's go ahead and apply that.
| | 01:13 | Now I would like to apply it using an
old-school Apple technique called Drag-and-Drop.
| | 01:18 | So just click on the Behavior and drag
it and drop it right onto the ball.
| | 01:24 | And if your HUD isn't up hit F7 so you can see
the Throw HUD and go ahead and hit the spacebar,
| | 01:32 | so we can actually watch this playing and nothing happens.
| | 01:36 | So let me just Pause that by hitting
the spacebar again and what you have
| | 01:41 | to do is drag to set direction and speed of movement.
| | 01:43 | So I want this ball to fly-out up into the right.
| | 01:45 | So I am going to drag up into the right and check it out.
| | 01:49 | That ball is flying.
| | 01:50 | So let's hit the spacebar and see what happens.
| | 01:53 | And it goes off the canvas.
| | 01:55 | And so I don't want to do that and this Throw
Behavior is actually a little sensitive.
| | 02:01 | If I drag out towards the edge it's
making the ball fly way, way away.
| | 02:04 | So this Zoom option will actually make
it more sensitive or less sensitive.
| | 02:10 | So as I drag this here now, even if I get to the edge,
| | 02:13 | you notice with my playhead here,
the ball has not gone off the screen.
| | 02:16 | Now when I let this play again
it's going to fly off the screen.
| | 02:19 | So let me go ahead and drag that back down a second here
and hit the spacebar again and we will preview this.
| | 02:26 | So there you have it, a baseball
that's flying up out of the park.
| | 02:29 | Albeit it's not that fast, it's still flying.
| | 02:33 | So now I'd like to add a spin to the ball.
| | 02:36 | So let's go ahead and pause our playback one more time,
and this time instead of dragging-and-dropping spin-
| | 02:43 | because if the ball was actually moving
it'd be kind of hard to track that down.
| | 02:46 | This is the perfect time to actually click the Apply button.
| | 02:50 | So go and click Apply, and now the
Spin Behavior is applied to the ball
| | 02:54 | and go ahead and hit the spacebar and let this play.
| | 02:58 | Select your Canvas and hit the spacebar
and let it play, and if you click in here
| | 03:02 | and drag around you'll notice absolutely
nothing is happening.
| | 03:06 | So let's say it ever happens to you with any behavior, I
want you to click on the Eye button to open your Inspector
| | 03:12 | and look at what's going on with that behavior.
| | 03:14 | Right now what I was adjusting was the latitude and
longitude and what I really want to adjust is the Spin Rate.
| | 03:20 | If I had a specific number in mind I could click in
here and choose a number, but I am going use a technique
| | 03:25 | that you'll see me use throughout this
course and it's just click-and-drag.
| | 03:28 | So if I click-and-drag notice what's happening
and then I want to just spin the other way.
| | 03:33 | So as I am doing that, you notice from the HUD
what I needed to do is click on the edge HUD
| | 03:38 | and now all of a sudden the ball is spinning.
| | 03:41 | So I'd like it to spin faster, just click right
on the edge and drag around and you will notice
| | 03:45 | in the lower right corner here it's telling
me exactly how fast that is spinning.
| | 03:51 | So to recap, in this movie, we have applied a few Behaviors
and learned how to make most of the adjustments in the HUD.
| | 03:56 | But if you need more, you can make all
of your adjustments in the Inspector.
| | Collapse this transcript |
| Applying behaviors to layers vs. groups| 00:00 | In this movie we are going to animate clouds using Behaviors on our
Groups as opposed to Layers. If it's not already open we're in the
| | 00:07 | O2_LayerVsGroup project. Now open your Project pane F5 and let's
checkout how this is built. We are going to animate Clouds_4, so go
| | 00:15 | ahead and open that up,
| | 00:17 | and you'll notice we have a bunch of layers that make up all
these tiny puff balls. Now, we could apply behavior to each
| | 00:23 | little puff ball, but that would be a little tedious.
| | 00:26 | Let's just apply the Throw Behavior to the Cloud group. Go ahead
and select Could_4, go up to your Menu bar, click Add Behavior,
| | 00:33 | Basic Motion
| | 00:34 | and Throw.
| | 00:37 | Click to drag and choose your direction,
| | 00:40 | kind of want it to fly off towards the right and
let's hit the spacebar and see how that's going.
| | 00:46 | Now I created each one of these individual layers because I'd like
them to move slightly independently to give the affect of a cloud.
| | 00:54 | Simulations to the Rescue. Let's go to the Library,
| | 00:58 | Behaviors
| | 00:59 | and Simulations. The one we want to use is Random Motions.
This just applies a little bit of Random Motion to anything we
| | 01:06 | applied the behavior too. So drag-
and-drop that right to Cloud_4.
| | 01:11 | Select Cloud_4 and hit your spacebar
to checkout what's happening.
| | 01:15 | And not much. The key to random motion, we are applying it to
a group is to check the Affects Subobjects box. So go ahead and
| | 01:23 | give that a check and now let's hit
the spacebar and see what happens.
| | 01:28 | Why don't we rewind to the beginning,
| | 01:32 | hit the spacebar and see what happens.
| | 01:36 | That's looking pretty good.
| | 01:38 | There you have it. A little glimpse of how powerful behaviors
can be when they are applied to Groups instead of Layers.
| | 01:44 | Now feel free to go ahead and animate the rest of the clouds
to further reinforce what you just learned about Behaviors.
| | Collapse this transcript |
| Adding multiple behaviors| 00:00 | Yes, we know how flexible behaviors are
by themselves, but in this movie I want
| | 00:04 | to you see just how interactive multiple behaviors
can become when they are applied to the same object.
| | 00:10 | So let's add some more behaviors to this baseball to make
this animation really look more realistic and organic.
| | 00:15 | If it's not already open, we are in
the O3_Multiple_Behaviors project.
| | 00:19 | Let's go ahead and hit the spacebar, we're going
to playback and checkout what we've got here.
| | 00:27 | We have a ball kind of flying aimlessly up into the sky.
| | 00:32 | What I'd like to do is have this ball fly up into the
sky and bounce across the scene down here in the front.
| | 00:40 | So I am trying to simulate something in real life.
| | 00:42 | So select the baseball and let's add a behavior
and more importantly let's add a Simulation.
| | 00:50 | So since I want the ball to fall,
let's get started with some Gravity.
| | 00:54 | Let's go ahead and hit the spacebar again just
so you can see how gravity is functioning here.
| | 00:59 | We've got the ball coming up and it's very slowly
making its way towards the bottom of the scene.
| | 01:05 | So what I'd like to do is adjust
the acceleration of the Gravity.
| | 01:08 | If your HUD isn't already open. hit
F7 and drag the acceleration up.
| | 01:13 | And now gravity is going to be a little faster,
| | 01:16 | and it's almost falling too fast. So this is what I mean
| | 01:20 | about adjusting
| | 01:22 | multiple behaviors. These two behaviors are interacting right
now. So if I click on this pull-down in my HUD and go back to
| | 01:28 | my Throw behavior I can actually make that throw little stronger,
and you'll notice as I get back to Gravity here, now the
| | 01:34 | arc has changed just a little bit. So
these two are very closely tied together.
| | 01:40 | Now, I did mention I want the ball to
bounce across the front of the screen.
| | 01:43 | So let's go ahead and add another simulation.
| | 01:47 | Click Add Behavior,
| | 01:48 | Simulations and this time, we want to do an Edge Collision.
| | 01:53 | Hey-hey, look at that! Now I have this ball that's coming
out of the stadium and it's going to go ahead and bounce
| | 01:59 | on the ground.
| | 02:00 | Doink! Now,
| | 02:02 | let's stop playback here for a second. That's not really realistic
in my mind. What you can adjust here is the bounce strength.
| | 02:09 | Let's go ahead and drag that down a
little bit and now look at what happens.
| | 02:15 | Got this beautiful little animation
| | 02:17 | bouncing across the screen.
| | 02:21 | So this is pretty cool.
| | 02:23 | Alright. So let's go ahead and adjust the throw one more time.
| | 02:26 | Click on your pulldown menu and choose Throw and this is a
perfect time to adjust the zoom because I'm hitting the edge
| | 02:33 | of my circle there. So let's go ahead and drag that out and make
it a little stronger, and if you notice when I get back to my
| | 02:39 | Gravity here, now it's bouncing off
| | 02:44 | the right side of the screen, so let's go back to my edge
collision and you notice there aren't options in here that,
| | 02:51 | you know, that's going to fix that. So click on I, head to our Inspector
and make sure you're on the Behaviors tab and uncheck the Right Face box for
| | 03:00 | this behavior. And now we have the ball bouncing and it's
bouncing off the screen. So let's go ahead and click one more time.
| | 03:08 | Choose Throw and make this pop up a little bit more, so
it's not bouncing completely off the screen and go ahead
| | 03:15 | and adjust our gravity a little bit
more so it bounces a little more.
| | 03:29 | That's really close. There's one last behavior I'd like to
add, and that's the Grow/Shrink behavior because honestly,
| | 03:35 | if a ball was flying towards you,
| | 03:37 | it wouldn't stay the same size. So let's click Add
Behavior, choose Basic Motion and choose Grow/Shrink and
| | 03:45 | click on the edge of the box and
just drag it out slightly and now,
| | 03:51 | we have the ball scaling as it's coming towards us and
bouncing across the screen and as you can see when you apply
| | 03:57 | multiple behaviors to a single object
it can be very interactive and very
| | 04:03 | easy to create these complex animations.
| | Collapse this transcript |
| Adding parameter behaviors| 00:00 | With Parameter behaviors we can
make these words jump to life.
| | 00:04 | Parameter behaviors are quite powerful because
they can be applied to any Parameter in motion.
| | 00:09 | For these words I would like FLASH to flash,
BLURRY to jump around so fast it becomes blurry,
| | 00:15 | and DIZZY to, well, spin around and get dizzy.
| | 00:18 | Let's start with FLASH.
| | 00:20 | Select a new Canvas, and click on your Inspector,
and what we want to do is adjust its Opacity.
| | 00:28 | So right click on Opacity and check it out.
| | 00:31 | Here are all of your Parameter behaviors.
| | 00:34 | Let's get started with Randomize.
| | 00:37 | What Randomize does is just randomly changes
the value that you applied the behavior to.
| | 00:43 | So let's check it out.
| | 00:45 | Right now the Amount is set to nothing.
| | 00:48 | So if I hit the spacebar, absolutely
nothing is going to happen.
| | 00:52 | So let's go ahead and up this amount quite a bit; we will
take it up to around 95, and we got a sight variation there,
| | 01:00 | but the problem is, this word is at 100% Opacity, and what
this Randomize Behavior is doing is applying Random values
| | 01:11 | in addition to the 100% Opacity value; and we
all know you can't make it more opaque than 100%.
| | 01:16 | So let's go ahead and subtract.
| | 01:19 | Now, hit the spacebar again and let's see what's happening.
| | 01:22 | There we go.
| | 01:22 | Let's go ahead and adjust our Frequency; this is
just how frequently the amount is going to change.
| | 01:28 | We will go ahead and just adjust that down a little bit.
| | 01:32 | The Noisiness, go ahead and drag it to the
right; you will notice it makes it more varied.
| | 01:37 | If you drag it to the left, it makes it less
varied or less jagged in terms of its stuff.
| | 01:42 | So let's go ahead and adjust that up to around 0.8.
| | 01:45 | There we go.
| | 01:47 | We have got our flashing word flashing.
| | 01:50 | Let's go ahead and pause for a second, and bring our
playhead back to the beginning, and select BLURRY.
| | 01:57 | Now, like I said at the beginning of this, I would like this
to jump around the screen so fast that it actually blurs.
| | 02:04 | So let's go to its Properties, and right click on Position.
| | 02:10 | Let's go down and chose Wriggle.
| | 02:12 | I like Wriggle because it just shakes the
daylights out of anything you apply it to.
| | 02:19 | Go and hit your spacebar, and let's look at what its done.
| | 02:26 | That's sort of what I was looking for, but not quite.
| | 02:29 | Let's go ahead and adjust the Amount down, because
I don't want this word to fly around so much.
| | 02:36 | Just go ahead and drag to the left.
| | 02:38 | Let me drag it down to 22; now I have
got the word moving just a little bit.
| | 02:46 | It's not really varying enough for me, so
I would like it to increase its Frequency.
| | 02:51 | So let's go ahead and drag that up a little bit.
| | 02:55 | It's not very jagged, so let's drag our Noisiness.
| | 03:03 | Now, all of a sudden, it's getting pretty blurry.
| | 03:09 | So this is close, but not quite.
| | 03:12 | Let me pause this for a second.
| | 03:13 | So in order to achieve the Blur Effect,
sometimes you have to turn on Motion Blur.
| | 03:19 | The way you do that is come up under the
View pull-down, and chose Motion Blur.
| | 03:25 | Now, typically I don't add this to anything in my
project until I am ready to output, and the reason is,
| | 03:31 | it has a tendency to slow down your real
time playback, but just because I want
| | 03:36 | to show you, let's go ahead and choose it.
| | 03:39 | Now look at what its done to that word.
| | 03:41 | If we hit the spacebar, now we
have a really blurry BLURRY word.
| | 03:47 | Go ahead and click anywhere in the Canvas,
and now BLURRY is really, really blurry.
| | 03:51 | In fact, it's a little too blurry, so I am just
going to pause it for a second, and select it,
| | 03:56 | and bring its Noisiness down just a little bit,
and let's hit the spacebar and check it out again.
| | 04:04 | There we go.
| | 04:05 | Now you can actually read the BLURRY
word, and it's still blurry.
| | 04:09 | So last but not least, let's get started with DIZZY.
| | 04:12 | I am going to pause for a second and select DIZZY.
| | 04:15 | So like I said, these Behaviors can be applied to
any Parameter, and I want DIZZY to spin around.
| | 04:20 | Let's go to its Rotational Properties.
| | 04:23 | Go ahead and right click; and I don't
want it to spin around randomly,
| | 04:27 | I want it to actually spin around at a constant rate.
| | 04:30 | So let's go ahead and choose Rate.
| | 04:31 | Hit your spacebar and see what happens.
| | 04:34 | Again, nothing is going to happen
until you actually drag the Rate up.
| | 04:39 | So click and drag in the Number Field
here, and let's just adjust this;
| | 04:42 | and I want it to spin the other
way, so I will rag to the left.
| | 04:45 | I am going to drag it up to round 400.
| | 04:55 | That's pretty cool, but what I would like it to do is
start from a stopped position and then slowly spin faster,
| | 05:03 | and then slowly spin back down by the end of the animation.
| | 05:06 | The way you achieve that is adjusting the Curvature.
| | 05:09 | So let's go ahead and drag that right
up to 100% and see what happens.
| | 05:13 | So if you notice, the word actually
started from its beginning starting point,
| | 05:18 | and it slowly sped up and now let's slow it down.
| | 05:22 | There we go.
| | 05:23 | So sit back and enjoy.
| | 05:25 | You just quickly and easily added life
to your text with Parameters behaviors.
| | Collapse this transcript |
| Trimming and sliding behaviors| 00:00 | I have created this simplistic project to help
you with something that can be kind of tricky
| | 00:04 | in Motion: trimming and sliding behaviors.
| | 00:07 | If it's not already open, we are in
the Trimming_Sliding_Behaviors project.
| | 00:11 | Now I have color coded my examples to give you a hint at
which ones I think work the way they are intended to work,
| | 00:17 | and others that you kind of have to watch
out for, and one that just doesn't work.
| | 00:21 | So this movie should give you some valuable food for
thought as we go around trimming and sliding our behaviors.
| | 00:27 | Go ahead and open up your Project pane and hit F5.
| | 00:30 | You will notice, each one of these words has
the corresponding behavior applied to it.
| | 00:37 | Now, there are some little specific things that
we are going to get into, so just follow along.
| | 00:43 | Select the Throw Behavior and in your Inspector
make sure you have your Behaviors tab set up.
| | 00:49 | Let's look at the Throw Behavior.
| | 00:51 | The way this is set up is it works in an increment, where
it's basically applied a value at a continuous rate.
| | 00:57 | So the Throw Velocity is moving at -43.29.
| | 01:02 | It's not chosen for any specific reason, it was
just dragged that way to have a specific Velocity.
| | 01:08 | So let's go ahead and hit the spacebar and see what happens.
| | 01:12 | So THROW is moving at a continuous rate of
-43.29 pixels, in that specified direction.
| | 01:20 | So go ahead and stop your playhead.
| | 01:23 | I just want to stop it somewhere in the middle of the THROW,
| | 01:26 | so we can see what happens when
we actually trim the Behavior.
| | 01:29 | I am going to move my playhead to two seconds.
| | 01:33 | Now hit O on your keyboard to trim that behavior.
| | 01:37 | You should notice that Red line got shorter here.
| | 01:39 | Let me Undo that so you can see it.
| | 01:41 | When I hit O, it stopped the THROW exactly
where the word was when I trimmed the Behavior.
| | 01:48 | So go ahead and move your playhead back
to the beginning, and hit the spacebar,
| | 01:52 | and you will see what I am talking about.
| | 01:54 | So that Behavior worked beautifully.
| | 01:58 | Let's see what happens; go ahead and stop playback,
let's see what happens when we slide this Behavior.
| | 02:03 | Just click on the Behavior and
slide it down in the timeline.
| | 02:06 | Let's say we didn't want this word to start
getting thrown across the screen until 1 second.
| | 02:11 | So again, when you drag it, look for that
little Contextual Menu to be at 1 second.
| | 02:17 | Move your playhead back to the beginning and now watch.
| | 02:21 | THROW doesn't start moving until that Behavior starts.
| | 02:25 | So again, that's working beautifully.
| | 02:28 | Let's go ahead and move the Throw Behavior back
to the beginning of the Project, and hit End,
| | 02:34 | which should move your playhead all the way to
the end, and let's trim this all the way back out.
| | 02:41 | So hit O, and that will extend the Throw
Behavior to cover the entire project again.
| | 02:46 | Go ahead and hit your spacebar to begin playing,
| | 02:50 | and so now we have this Throw Behavior pretty much
back the way it was when we started this project.
| | 02:55 | Now, stop your playhead at 3 seconds.
| | 02:58 | Again, I am just kind of choosing this
time randomly to illustrate what happens
| | 03:02 | when you trim the in point of the Throw Behavior.
| | 03:06 | Go ahead and hit I and look what happens.
| | 03:09 | When you trim the in point of a Behavior, it actually
does the same thing as if we actually slid the Behavior.
| | 03:17 | So do your Shift, left bracket, and you
notice it does the exact same thing.
| | 03:22 | I am just going to Undo, Apple Z, and hit Eye, and
you notice THROW has moved back to its starting point.
| | 03:31 | Again, I am going to Undo this, Apple
Z. If you do Shift, left bracket,
| | 03:35 | which will slide this Behavior down,
you notice it does the exact same thing.
| | 03:39 | So that's just a little mental note about
trimming the in points of Behaviors.
| | 03:45 | Now honestly, I have got to say, I very rarely,
if ever, trim the in point of a Behavior,
| | 03:50 | because most of the time I am just trying to slide it down
the timeline, because I want it to start a little bit later.
| | 03:56 | That's some of the pitfalls of Throw.
| | 03:59 | Let's go ahead and click on SPIN, and
look at the Behavior in our Inspector.
| | 04:06 | SPIN is moving at a continuous
rate of 290 degrees on its z axis.
| | 04:13 | So move your playhead back to the beginning, and
go ahead and hit the spacebar, and you notice,
| | 04:18 | its just moving at this nice constant rate.
| | 04:21 | Now, we are going to do the exact same
thing that we did to THROW to SPIN.
| | 04:24 | Just stop your playhead anywhere in the middle of
your project; mine is at 02:19, and hit O. Look,
| | 04:31 | it stayed in its place and it's functioning
exactly the way you would think it would function.
| | 04:37 | Go ahead and hit your spacebar, and you can see when it
loops back, it will automatically stop at our out point.
| | 04:44 | So that's a really, really nice thing.
| | 04:47 | Now, one thing I want you to be aware of when you
are trimming this Behavior is this, let's go ahead
| | 04:53 | and pause the playback, hit End, which will
move your playhead to the end of your project.
| | 05:00 | I am sure the timeline selected.
| | 05:02 | Hit End, and O, which will extend your Spin
Behavior back to the way it was originally.
| | 05:08 | Go ahead and hit your spacebar to get it spinning again.
| | 05:11 | So you see its back to the way it was at the beginning.
| | 05:15 | Now, what I want you to do is pause for a second and change
this Increment from a Continuous Rate to Final Value.
| | 05:23 | Now, what this is going to do is
have the Behavior start at one point,
| | 05:29 | and when the Behavior is finished,
it will be at 679 degrees.
| | 05:34 | So let's go ahead and see what that looks like.
| | 05:39 | Okay, it's pretty cool, but let's see what
happens when we trim this behavior now.
| | 05:45 | Go ahead and stop your playhead,
and let's move it to 1 second.
| | 05:52 | The reason I am moving this here is I know what's going to
happen, and this is the best time for your playhead to be
| | 06:00 | at one second so I can clearly illustrate my point.
| | 06:03 | Go ahead and hit O, and look what happened.
| | 06:07 | It didn't function the same way because the
way this Behavior is set up, its saying,
| | 06:11 | by the time the playhead gets to the end of this
Behavior, it has to be at this set value of 679 degrees.
| | 06:19 | So now if you move your playhead back to the
beginning and hit your spacebar to play it,
| | 06:24 | you will notice how fast the Spin is happening.
| | 06:27 | So it's really important, when you apply Behaviors,
to understand whether that Behavior is set to go
| | 06:34 | to a Final Value or move at a Continuous Rate.
| | 06:37 | So you guys are doing great so far, stick with me just
a little bit more, we going to try to Move Behavior.
| | 06:43 | Go ahead and select the Behavior, and
you notice its already been trimmed.
| | 06:46 | That's okay, what we are going to do here is,
Rewind the playhead and hit your spacebar,
| | 06:52 | and notice that the Parameter is set to Move to a
Positional value; its moving to that at a constant speed.
| | 07:04 | So this may kind of throw you off because it has the word
Constant in it, but its actually moving to a specific point,
| | 07:10 | and that point is a value of 200 on the X axis.
| | 07:15 | So if I stop my playhead here at 03:01, and look at the
Properties tab, you notice my Position is actually 200 X,
| | 07:24 | and 0 for Y. We go to the Behaviors,
that's what's its set up to actually do.
| | 07:28 | So if I trim this out point by hitting O right now
and extending it to be longer, you should notice;
| | 07:36 | go ahead and hit the spacebar, you should notice that this
is now taking a lot longer to get to its specific value.
| | 07:44 | This is another one of those where you
want to actually pay close attention,
| | 07:49 | because it does function differently than THROW.
| | 07:51 | If you click on THROW, you notice
THROW is moving at a continuous rate.
| | 07:57 | So almost there, let's go ahead and head to GROW and SHRINK.
| | 08:03 | Go ahead and select GROW and SHRINK.
| | 08:06 | The way we have set up GROW and SHRINK; go ahead and stop
your playback here for a second, the way we have set GROW
| | 08:12 | and SHRINK is to move at an Increment of a
natural scale, and its going to scale to 100%.
| | 08:19 | Well, that's kind of vague, so let's see what happens.
| | 08:23 | Make sure your playhead is at 2 seconds, and
go ahead and hit O, and look what happens.
| | 08:30 | It compresses it.
| | 08:31 | It is scaling to a specific value of 100%
but this is the travesty of this Behavior.
| | 08:39 | Go ahead and hit your spacebar and see what happens.
| | 08:43 | When this Behavior ends, for whatever
reason, it snaps back to the original state
| | 08:48 | of the actual word, before any Behavior was applied.
| | 08:53 | I have got to tell you, this accounted
for countless hours of frustration for me.
| | 08:58 | So hopefully, I have saved you countless hours of
frustration by just pointing out this little thing.
| | 09:04 | So you see, applying the GROW and SHRINK Behavior can
sometimes be problematic, because it does snap back
| | 09:08 | to the beginning, and so you just want
to be aware of that when you use it.
| | 09:12 | Honestly, I only use it when I want to apply a constant move
| | 09:17 | over the entire composition, and
the Grow doesn't ever actually stop.
| | Collapse this transcript |
| Animating stills with behaviors| 00:00 | So one of the most common things people need
to do in video editing is animate still images.
| | 00:05 | If you have ever used iMovie, undoubtedly you
have used the Ken Burns Effect to do just that.
| | 00:10 | But with this technique, I am going to show you how
you can use Motion to do those same types of moves.
| | 00:15 | Now, I would just like to take a quick second
to thank my wonderful fianc?, Lisa Parkinson,
| | 00:20 | for supplying these beautiful images
I am going to use in this course.
| | 00:23 | I am not biased or anything.
| | 00:24 | Let's get started by actually analyzing the images.
| | 00:28 | I am in Preview, I have got all the images opened here in
Preview, just so I can show you the different resolutions
| | 00:34 | of all the images that we are going to be using today.
| | 00:36 | If you go up under tools and open your Inspector, you
will get this Window here for General Information.
| | 00:42 | This first image is 1280 x 1920.
| | 00:46 | One of the things you will notice
as I click through these images is,
| | 00:50 | I have 1920 as the largest possible
size for all of these images.
| | 00:55 | The reason I have done that, typically the
highest resolution of HD footage is 1920 x 1080.
| | 01:02 | Now, we are not working at that, we're working
at BBC Pro HD, which is considerably less.
| | 01:06 | So this way I can make sure my images are
plenty and big enough to actually do the moves
| | 01:11 | and not have any edges of the images showing.
| | 01:14 | Now, the other thing you want to make note of is the DPI.
| | 01:18 | This is really interesting, because in the past I
would always have to make all my images, 72 DPI,
| | 01:22 | but now with Motion, if you just
drag and drop your images in,
| | 01:27 | Motion will automatically treat the image as a 72 DPI image.
| | 01:30 | Now, why am I obsessing over 72 DPI?
| | 01:33 | Well, all video is 72 DPI.
| | 01:37 | So it really doesn't matter if I am
using a 600 DPI image or a 300 DPI image,
| | 01:42 | because Motion is just going to
treat it as though it were 72 DPI.
| | 01:46 | So let's go ahead and get started.
| | 01:50 | If you don't already have it open, we are
in the 06 Animating Photos Motion Projects.
| | 01:56 | Navigate in your File Browser to the exercise files.
| | 01:58 | Go to your Media folder and there you should
find Graphics, and in there a Photos folder.
| | 02:05 | Here we have the six photographs.
| | 02:08 | So we are going to do these one by one.
| | 02:11 | So let's get started by dragging this
first image of MacAndMalia in here;
| | 02:16 | this is Malia, and so we will just drag in on out.
| | 02:19 | One thing you will notice is, this image, all
of a sudden, looks like its way too small.
| | 02:24 | If we look in the Inspector, the
Scale has been set to 37.5%.
| | 02:32 | Well, the reason this has happened, if you go into
your Preferences; click on Motion, go to Preferences.
| | 02:38 | Under the Project settings, there
is an option for Large Stills,
| | 02:42 | and by default its set to Scale the Stills to Canvas.
| | 02:46 | Now, for this project we don't want to do that.
| | 02:48 | So click on that, and say Do Nothing.
| | 02:51 | Now we can go ahead and close this.
| | 02:54 | I am just going to select this image and hit
Delete, so it's out of my Motion Project,
| | 02:59 | and we will go back to the File
Browser and redrag this image in.
| | 03:02 | If you are not getting your Snapping, remember hit
N. Now you will notice this image is nice and big,
| | 03:07 | and now we can start doing some
of these wonderful moves on here.
| | 03:11 | Okay, let's get started by positioning the image.
| | 03:14 | Go ahead and click on it and drag it down here.
| | 03:18 | What I would like to do; I am making sure it stays centered,
| | 03:22 | what I would like to do is just do a slow
move in on the image and have it moving down.
| | 03:30 | So let's do this with Behaviors.
| | 03:33 | Go ahead and hit your spacebar.
| | 03:36 | Click on Add Behavior, Basic Motion, Grow/Shrink.
| | 03:41 | Open up your HUD, and let's just
make this image grow a little bit.
| | 03:47 | So now we have got this nice, slow move on the image.
| | 03:52 | You always want to make sure; go ahead and stop it
for a second, when you get back to the beginning,
| | 03:56 | that the edge of the image appearing
like that, you don't want that to happen.
| | 04:00 | So we have our nice Grow, and now what
we need to do is Add the pan down.
| | 04:07 | So go up under Add Behavior, choose
Basic Motion, and choose Throw.
| | 04:14 | Again, in your HUD, go ahead and click and
drag down, and now we will get a nice push in.
| | 04:24 | So now we have got one move.
| | 04:26 | This is close, but as you see, its kind of popping,
| | 04:29 | so what we need to do is actually add a
Fade at the beginning and a Fade at the end.
| | 04:33 | So I am just going to pause for a quick second.
| | 04:35 | Go up under Add Behavior, Basic Motion, Fade In/Fade Out.
| | 04:40 | The Default is 20 frames.
| | 04:41 | Let's go ahead and change these to 15 frames,
and we will change the Out to 15 frames.
| | 04:47 | Go ahead and hit your spacebar, and Play again.
| | 04:49 | So now you will notice, I am getting a nice fluid
move with a Fade In and a Fade Out on both sides.
| | 04:56 | Go ahead and hit Pause for a second
here and move my playhead back
| | 05:00 | to the beginning; you will see nothing on the screen.
| | 05:03 | Hit F5 and open up your Layers Tab, and in here
you will notice we have a Fade In/Fade Out,
| | 05:09 | the Throw Behavior, and the Grow/Shrink Behavior.
| | 05:12 | Now, every time I drag an image in here, I
don't want to have to start from scratch,
| | 05:16 | so what I am going to do is Save this as a Preset
So open your Library Tab, move down to Favorites;
| | 05:25 | and this is a folder where you can
actually save and modify things.
| | 05:28 | So what we are going to do is click on the bottom most
Behavior, and hold down Shift and click through the list.
| | 05:37 | I want you to drag and drop this, but don't let go
just yet, wait, and you will get this Contextual Menu,
| | 05:43 | and what its saying is, I can save each one of these
behaviors on its own, or I can save it All in one file.
| | 05:50 | I want it to be All in one file, so check this out.
| | 05:52 | When I let go, it's Untitled.
| | 05:55 | So go ahead and double click the text and rename it;
and this was Down and In, so I will just Down_In.
| | 06:06 | There we go.
| | 06:07 | I am finished animating this first Still, so we can go
ahead and close that off, and actually turn that Layer off.
| | 06:14 | Go back to the File Browser and
we will choose our next still.
| | 06:20 | Go ahead and drag this MacAndMalia_4 image.
| | 06:23 | Drag in and drop it out to your canvas.
| | 06:26 | Make sure it's centered, and there we go.
| | 06:29 | Let's go back to our Library, choose the Down and In
behavior; and I know you are probably thinking to yourself,
| | 06:35 | well, I don't want to do the exact same move back to back.
| | 06:38 | No problem, this is just a starting point.
| | 06:41 | So go ahead and drag and drop this onto this Layer, and now
you notice you have all three Behaviors already broken out.
| | 06:49 | If you hit your spacebar, and make
sure you have your Timeline selected,
| | 06:52 | if you hit your spacebar, you can see now we have a move.
| | 06:56 | Like I said, this is just a starting point.
| | 06:58 | So I really don't want this Throw to go this direction, so
I am going to stop my playhead relatively close to the end
| | 07:05 | because I want to choose where this image is going.
| | 07:08 | So let's start by adjusting the Throw.
| | 07:11 | I want it to start on Malia and make its way over to Mac.
| | 07:16 | So what we want to do is adjust the
Throw to kind of head that direction.
| | 07:23 | There we go.
| | 07:23 | I want this to not Grow, but to actually Shrink a
little bit, so we can see a little more of this image.
| | 07:32 | Here's that edge that I was telling you to be wary off.
| | 07:35 | So let me go ahead and adjust our Throw Behavior
and make sure it isn't throwing it quite so hard.
| | 07:41 | Let's Preview.
| | 07:42 | Go ahead and close your HUD, and hit the spacebar.
| | 07:47 | Okay, pretty close, but I am still
getting the edge of that image.
| | 07:51 | What I want to do is actually make sure
that this Throw is not so powerful.
| | 07:56 | So go ahead and hit F7 and bring your
HUD back up, and we will go ahead
| | 08:00 | and drag the Throw back there; just
kind of giving it one last tweak.
| | 08:03 | Go ahead and close that, hit the spacebar and Play it.
| | 08:06 | There we go.
| | 08:07 | So now we have another nice move.
| | 08:09 | I will just call this a Pull_Out.
| | 08:12 | Let's go ahead and save this one.
| | 08:15 | Shift click on all of your Behaviors and go ahead and drag
it and drop it, and again, we will Save it All in one file.
| | 08:23 | Double click it, and we will just call this Pull_Out.
| | 08:31 | I want to encourage you to feel free and use all the
rest of these images to create your own little slideshow.
| | 08:39 | For the purposes of this demo, and I am
just going to use these two and build this
| | 08:44 | out so you can see the rest of the process.
| | 08:46 | So let's go ahead and close this image, and now what
we have is two images directly on top of each other.
| | 08:53 | See, if I turn this one off here, you can see
I have got one image and then the next image.
| | 08:59 | They are not really edited together, so what we
want to do is change the Length of our composition.
| | 09:04 | Now, I could change it to 6 seconds; its now 3
seconds, but I don't want there to be any issues
| | 09:12 | when the photos are cross- dissolving
with the black background coming up.
| | 09:16 | So I want to make sure that Dissolves are Overlapped to a
point where it just easily fades from one image to the next.
| | 09:22 | So I am going to choose 5 seconds.
| | 09:25 | Then just go ahead and drag your outpoint out here, and we
can select the first Layer, and you notice here it ends.
| | 09:33 | If we hold down Shift and hit O, it will
automatically jump your playhead to the end.
| | 09:39 | Let's go ahead and click on the next photograph here and
hit Shift, left bracket to slide that photograph down.
| | 09:48 | So let's go ahead and hit the spacebar
and see what we have got.
| | 09:51 | So you have got the first image and it
Fades Out and then the next one Fades In.
| | 09:56 | That will be good if you want a little dip to Black,
but like I said, I chose 5 seconds for a reason.
| | 10:01 | Let's go ahead, and in real time, just click on the
second photo and drag it so it starts a little earlier,
| | 10:07 | and now we will get one fading right into the next.
| | 10:13 | So there you have it.
| | 10:14 | We have saved some Presets and we have
used Behaviors to create the wonderful Pan
| | 10:20 | and Scan Ken Burns Effect within
the Final Cut Studio package.
| | Collapse this transcript |
|
|
4. KeyframingUsing the Record button| 00:00 | Here we have a typical map animation.
| | 00:03 | It's going to be pretty simple.
| | 00:04 | We have a map and we have a car, and we just
want to move the car easily across the country.
| | 00:09 | We are going to use keyframes to do that.
| | 00:11 | So the reason I am using keyframes as opposed
to behaviors, keyframes are very specific.
| | 00:17 | What they do is they allow you to lock down exactly
what's happening at a specific point in time.
| | 00:23 | So let me go ahead and show you.
| | 00:24 | Open up F5, and select the Mini Layer;
don't select the Car, select the Mini layer.
| | 00:31 | Typically I would go down here and click the Record
button, but I want you to make note of the shortcut.
| | 00:36 | The shortcut to turn the Record button
on is A. The reason this is important,
| | 00:41 | you Final Cut users probably use A quite a lot to grab your
Selection tool, and in Motion this could cause all kinds
| | 00:48 | of problems, because if you are constantly
turning On and Off your Record button,
| | 00:52 | you may very well be recording keyframes all throughout
your animations and driving yourself literally insane.
| | 00:57 | So if you need to change that, go up
to Motion, and go down to Commands,
| | 01:02 | and this is where you can change your Command Set.
| | 01:04 | So you can change your key Commands to the Final
Cut Pro Set as opposed to the Standard Set.
| | 01:10 | Let's go ahead and click the Record button.
| | 01:14 | Now, if you notice my playhead is at 0,
and the Record button sets keyframes based
| | 01:20 | on exactly where your playhead is.
| | 01:21 | So right now, I am just going to go ahead and drag my car a
little bit, just until I get this little red diamond here.
| | 01:29 | Let me Zoom In a bit so you can see that.
| | 01:31 | Let ne try a little more.
| | 01:33 | I am just using Apple Plus to Zoom In, and then I am holding
down the spacebar to get my hand so I can slide around.
| | 01:39 | So you see that little red diamond right there.
| | 01:42 | So let's Zoom back out.
| | 01:43 | That's letting me know that I actually have a keyframe set.
| | 01:47 | I want this car to get to Texas in exactly 2 seconds.
| | 01:50 | So go ahead and click in your Timeline
and move your playhead to 2 seconds.
| | 01:56 | Now we just drag the car right to
exactly where we want it to be.
| | 02:01 | If you want it to rotate a little bit, you can actually
click on the rotation and it will actually rotate the car
| | 02:07 | as well, but right now, just want to focus
on position, so I will just Undo that.
| | 02:11 | One of the things you should also
notice are these little dots.
| | 02:14 | I am going to Zoom In here so you
can see it a little better.
| | 02:17 | These dots, if you notice, they are a little close
together when it first starts, and then they spread apart
| | 02:23 | as the car gets going, and then they get
close together again back down over the car.
| | 02:28 | What's that showing me is the speed at which this car is
moving, and what it means is this automatically has a ramp
| | 02:36 | up and a ramp down effect on it, so the car
is actually going to speed up and slow down.
| | 02:41 | So we still have our Record button
on, so let's finish the animation.
| | 02:46 | Let's say I want to get to California
in 4 seconds, wouldn't that be great?
| | 02:50 | Just click and move your playhead, 4.00, and
now click on your car and drag it to California.
| | 02:59 | There we go.
| | 02:59 | We have actually set three Position keyframes, and again,
you can note those by the red diamond; one, two, three.
| | 03:08 | At this point, I just want to go
ahead and turn the Record button off.
| | 03:12 | So either hit A or click on it.
| | 03:14 | Move your playhead back to the beginning, and
hit the spacebar and check out what we have done.
| | 03:22 | So if you notice, now the car is nicely
and easily moving across the screen,
| | 03:27 | and we have done that using the automatic
keyframe feature, the Record button.
| | Collapse this transcript |
| Adding keyframes manually| 00:00 | So here we have our map animation and this time we are going
to move the car across the country using manual keyframes.
| | 00:08 | Now, if you are joining me from the last movie, you
are probably saying, "The Record button was great.
| | 00:12 | Why would I ever want to use manual keyframes?"
| | 00:14 | Well, to be honest, the Record button is kind of overkill,
sometimes you just want to be able to set a keyframe
| | 00:21 | to a specific parameter and get on with your animation.
| | 00:24 | So let's get started.
| | 00:26 | Hit F5, select the Mini layer, and open the Inspector.
| | 00:30 | What I would like to do is set a Position keyframe.
| | 00:33 | Now remember, keyframes are tied to where
your playhead is, so our playhead is at 0.
| | 00:38 | So when I add this first keyframe,
it will be at 0 in the Timeline.
| | 00:43 | So I want to add a keyframe for Position.
| | 00:45 | The way you do that, go to the Position Property, and go
all the way to the right and you will see this pull down.
| | 00:51 | If you click on it, there is an option for
adding a keyframe, or you could choose Ctrl+K.
| | 00:57 | So go ahead and click that, and now you
will notice this red diamond in there.
| | 01:02 | Let me just Zoom In really quick, and slide over.
| | 01:05 | I did Apple+Plus to Zoom, and the spacebar to slide over.
| | 01:11 | Here we can see the red diamond.
| | 01:13 | That's letting me know that that keyframe is set.
| | 01:16 | If I wanted to change the position of
the car, I could go ahead and do that,
| | 01:19 | as long as my playhead stays where
I originally set that keyframe.
| | 01:23 | That keyframe will go ahead and travel with the car.
| | 01:26 | Shift+Z to get my Canvas back.
| | 01:28 | What I would like to do is have the car travel
from Virginia to Texas in about 2 seconds.
| | 01:34 | So move the playhead to 2 seconds and hit Enter.
| | 01:39 | When you are doing manual keyframes, it's
important to always go up to your pull down
| | 01:44 | and add the keyframe before you change the Parameter.
| | 01:49 | So now that I have added the keyframe,
click on the car and drag it
| | 01:52 | to its new location and you will get the motion path.
| | 01:56 | Let's have the car go from Texas to California by 4 seconds.
| | 02:00 | So I move the playhead to 4 seconds.
| | 02:03 | If I tried to drag this right now, look what happens.
| | 02:08 | Any keyframe I have already set will now move with the car.
| | 02:12 | That's why it's important to always come up and
say Add Keyframe before you change your Parameter.
| | 02:18 | So go ahead and add the keyframe, and now when I drag
you notice, the car will move to its final position.
| | 02:24 | The nice thing about this is, you don't have to worry about
your composition recording absolutely everything as you're working
| | 02:31 | because you don't have the Record
button on; you have a manual keyframe.
| | 02:35 | So go ahead and rewind your project to the
beginning, hit the spacebar, and check it out.
| | 02:41 | We have just animated the car across
the country using manual keyframes.
| | Collapse this transcript |
| Manipulating keyframes with the Keyframe Editor| 00:00 | Here's our map animation we created using keyframes.
| | 00:03 | Now let's take it a step further
by using our Keyframe Editor.
| | 00:06 | Go ahead and hit Cmd+8.
| | 00:09 | Here we have a graph that represents
the Position keyframes that we have set.
| | 00:13 | One of the things I love about this
graph is the fact that it actually breaks
| | 00:16 | out the X values from the Y values and the Z values.
| | 00:19 | So if I wanted to move this entire animation on the X
axis, I can just go ahead and click on the X position here,
| | 00:27 | and make sure my mouse is right over that line which
represents the X position, and when its right over it,
| | 00:35 | I get the Move tool here, and you
can go ahead and just drag it.
| | 00:39 | Notice, now this entire animation is moving on its X axis.
| | 00:43 | This is pretty cool.
| | 00:44 | So go ahead and Undo that.
| | 00:46 | Now, the next little thing I would like to talk to
you about is what I think separates a good animator
| | 00:52 | from a great animator, and that's Keyframe Interpolation.
| | 00:55 | So let me show you what I am talking about.
| | 00:57 | Go ahead and draw a box around this
center keyframe here, and right click.
| | 01:02 | That will open up an option here
for your Keyframe Interpolation.
| | 01:06 | What this will allow you to do is change how the object,
that as a keyframe, gets into and out of this keyframe.
| | 01:14 | So if you go ahead and Ctrl-click on it
or right-click, and choose Interpolation.
| | 01:20 | I want you to change it to Linear.
| | 01:24 | Did you see that?
| | 01:25 | I will Undo that just so you can see it.
| | 01:27 | Pay close attention to this Motion path here.
| | 01:30 | I am going to right click, Interpolation, and say Linear.
| | 01:35 | Now if you notice, I have a very straight animation.
| | 01:38 | If you hit the spacebar, you will notice the
car is now moving in a very robotic fashion.
| | 01:44 | Let's go ahead and right click on that again, and
see what happens when we change this to Constant.
| | 01:50 | Constant is one of my favorites.
| | 01:52 | If you move your playhead back to
the beginning and hit the spacebar.
| | 01:57 | Boom, look what happened.
| | 02:00 | It stayed at a Constant state, all
the way until the next keyframe.
| | 02:05 | So that's one of my favorite things to do.
| | 02:07 | Let's actually hit the spacebar.
| | 02:08 | We will stop the animation for a second.
| | 02:10 | Select all of the keyframes, and right click on
one of them and choose Interpolation, Constant,
| | 02:18 | and move your playhead back to the
beginning and hit the spacebar.
| | 02:24 | So this may look kind of boring on this
specific animation, but this is a great tool
| | 02:30 | if you want to have something pop around the screen.
| | 02:32 | You could go ahead and set all your keyframes and then
just right click on them and set them all to Constant.
| | 02:38 | Let's go back to the Home.
| | 02:39 | There is one last Keyframe Interpolation
Property I would like to show you.
| | 02:43 | We are going to change this middle one back to
Bezier, and this is called the Ease Parameter.
| | 02:51 | We are going to go ahead and apply
an Ease to this last keyframe.
| | 02:56 | So go ahead and hit the spacebar, and you could
see how this animation is happening right now.
| | 03:00 | The car kind of gets there and it stops.
| | 03:03 | I will just stop the animation by hitting the spacebar.
| | 03:06 | Move the playhead back and just show you again.
| | 03:08 | Doink! it just stopped.
| | 03:10 | I know you are going to love the sound effects, right?
| | 03:12 | If you draw a box around N keyframe and right
click on it, go ahead to your Interpolation,
| | 03:18 | and what you want to do is have the
car Ease In to this last keyframe.
| | 03:22 | So choose Ease In.
| | 03:23 | Now I will move your playhead back to the beginning.
| | 03:27 | Hit your spacebar, and you notice it moves through
Texas, and nicely and easily it moves through California.
| | 03:34 | Now there is one little tweak that I would like to do,
not in the Keyframe Editor, couldn't stop your animation,
| | 03:42 | draw a box around your first keyframe;
and notice you get these handles.
| | 03:47 | With all these selected, I can
go and draw these handles out.
| | 03:51 | Now I have a little bit more fine control
over how these keyframes will function.
| | 03:56 | So go ahead and move your playhead back to the beginning,
| | 03:59 | and now see what it looks like
with the handles dragged down.
| | 04:01 | Isn't that neat, it sort of makes the car
look like it wound up and then took off.
| | 04:08 | Whether you are right clicking and changing Interpolation,
or whether you are actually clicking on a keyframe
| | 04:12 | and dragging its handles, you see you can get some
pretty precise control in your Keyframe Editor.
| | 04:18 | Now, there are some tools I would like to show you.
| | 04:21 | The first one; it was set by default, and what this is,
is the tool that I can use to select specific keyframes.
| | 04:29 | The next tool is the Sketch tool.
| | 04:31 | This is actually kind of a neat tool.
| | 04:33 | If you select a specific Parameter, it will allow you to go
ahead and sketch by clicking and setting another keyframe.
| | 04:42 | So I will go ahead and sketch this one here, and
now you notice, you can move your playhead back,
| | 04:48 | it's going to go ahead and whoop
and pop back up again and back out.
| | 04:53 | So to be honest, I rarely use this tool, but
its there if you would like to check it out.
| | 04:57 | The last thing I want to show you is this Box tool.
| | 05:00 | Go ahead and click it.
| | 05:02 | What this will allow you to do is
draw a box around your keyframes.
| | 05:05 | Just go ahead and click and drag around all your keyframes.
| | 05:08 | When you let go, now I have this transformed box.
| | 05:11 | So what I can do is actually drag it, and
that's going to go ahead and compress things,
| | 05:14 | so it's a lot more close together and happening faster.
| | 05:18 | So now, you can see, if you move your playhead
back to the beginning, you can see how quick
| | 05:24 | and compact these keyframes actually become.
| | 05:26 | As I said before, the Keyframe Editor gives you a
great place to use some pretty powerful tools to add
| | 05:32 | that final bit of polish to your animations.
| | Collapse this transcript |
| Combining keyframes and behaviors| 00:00 | When you combine behaviors and keyframes in Motion,
you can get some really powerful animations.
| | 00:05 | Let's make this text Zoom Out at the
screen and kind of bounce when it resolves.
| | 00:10 | So select your text, and we will start with keyframing.
| | 00:12 | Go to your Inspector, and since we are on Frame 0,
| | 00:16 | let's adjust our Scale to 0; since
we want it to start from nowhere.
| | 00:21 | Go ahead and add a keyframe.
| | 00:24 | Move 15 frames down your Timeline, and let's add
another keyframe and change the Scale up to 100.
| | 00:35 | Move your playhead back to the
beginning and hit your spacebar.
| | 00:39 | That's a little too smooth, I want
it to kind of really Zoom Out there.
| | 00:43 | So let's adjust our keyframes.
| | 00:45 | Open the Keyframe Editor; Cmd+8.
| | 00:50 | Drag a box over all of your keyframes,
and right click on your keyframe.
| | 00:57 | Under Interpolation, we want it to increase
exponentially, so choose Exponential.
| | 01:03 | Now you will notice the speed gradually
changes and then pops right in.
| | 01:07 | So move your playhead back to the
beginning and hit your spacebar.
| | 01:11 | There we go, that's a lot closer to what I was looking for,
| | 01:15 | and now let's use behaviors to
polish this animation a little bit.
| | 01:19 | Go back to the Timeline, and if you click this
button down here, that will reveal your keyframes.
| | 01:26 | So click the button and move your playhead back to your
last keyframe, and let's add an Oscillation to our scale;
| | 01:35 | and I will show you exactly why we
want to use that behavior in a second.
| | 01:38 | Go ahead and right click on your Scale and choose
Oscillate; and this is a Parameter Behavior,
| | 01:44 | since we are applying it directly to the Scale Parameter.
| | 01:47 | Go ahead and choose that.
| | 01:48 | I don't want this behavior to start until the 15th frame,
| | 01:53 | so go ahead and hit I to trim your
in point for your Oscillate Behavior.
| | 01:58 | Now let's open the Keyframe Editor, and
even though this is in the keyframe,
| | 02:02 | you will notice the value is actually changing here.
| | 02:04 | Behaviors actually show up in your Keyframe Editor.
| | 02:08 | Now, I only want this bounce to
happen over the next 15 frames.
| | 02:12 | Move your playhead down in your Timeline another
15 frames, and hit O on your Oscillate Behavior.
| | 02:18 | Now, this isn't quite the way I would like the speed to
adjust, so let's adjust the speed of the Oscillation.
| | 02:26 | Go ahead and drag it to the right, and
I think that's just about perfect, 49.
| | 02:33 | The reason I think that's perfect, if you look
at your speed graph here, it goes all the way up,
| | 02:38 | and then it comes right back down and just
bounces a little bit below, before it comes out.
| | 02:44 | So let's Rewind our playhead back to the beginning and
hide our Keyframe Editor, F6, and hit your spacebar.
| | 02:58 | Deselect or Cmd+/ to turn off your Overlays.
| | 03:02 | There you have it, a very organic, powerful
animation, using both keyframes and behaviors.
| | Collapse this transcript |
| Working with recording options| 00:00 | I have to admit it, when I am recording keyframes
using the Record button, I get a little nervous.
| | 00:05 | I mean, it's recording absolutely
everything that you are doing.
| | 00:09 | Luckily, there are some options built in that
make life a little less nerve wrecking for me.
| | 00:14 | Go ahead and double click the Record button,
and you will see a couple of Recording options.
| | 00:19 | The first one I want to talk about is Record
keyframes on animated parameters only.
| | 00:24 | Basically, this means if any parameter
already has a keyframe applied to it,
| | 00:28 | then it will continue recording keyframes
just for that specific parameter.
| | 00:32 | So let's give it a shot.
| | 00:34 | Don't check it yet.
| | 00:35 | Click OK, because we need to add a keyframe to our baseball.
| | 00:39 | I am going to turn the Record button off right now.
| | 00:42 | So we are going to use this baseball to fly around
the screen and check out some of our Record options.
| | 00:48 | Let's get a keyframe on the Position data.
| | 00:51 | Turn your Record button on and just drag your baseball.
| | 00:53 | You will see, there is the red diamond in the
middle, letting me know I have a keyframe.
| | 00:58 | Now double click your Record button and check the Record
keyframes on animated parameters only option, click OK,
| | 01:06 | and turn the Record button back on, and now move your
playhead down the Timeline, and just move your baseball
| | 01:12 | around the screen; every time moving
your playhead in between.
| | 01:17 | You will notice it's recording Position keyframes.
| | 01:20 | But if you rotate the ball and move your playhead down
the Timeline and then move your ball, you will notice,
| | 01:26 | if you move your playhead back, its not recording any
of the rotation data; that's because of that option.
| | 01:32 | Go ahead and double click one more time.
| | 01:34 | Uncheck the Record keyframes on animated parameters
only, and uncheck Don't record keyframes during playback.
| | 01:41 | This will allow us to record keyframes
while Motion is playing in real time.
| | 01:47 | Click OK, move your playhead back to the beginning, and
open your Inspector and reset your Position Parameter.
| | 01:55 | Now hit the Record button, and hit Play, and
start dragging your ball all over the screen.
| | 02:01 | Go ahead and stop, and you will notice, in real
time it has recorded all the Position keyframes.
| | 02:11 | Double click the Record button one more time.
| | 02:14 | Check the Reduced option and click OK.
| | 02:18 | Go back and reset your Position Parameter.
| | 02:22 | Move your playhead to the beginning.
| | 02:24 | Click the Record button and hit play one more time.
| | 02:28 | Now drag the ball around the screen.
| | 02:32 | Stop your playback.
| | 02:33 | So it's a subtle difference, but it
has recorded just a few less keyframes.
| | 02:38 | Now double click your Recording options again.
| | 02:42 | Check Peaks Only.
| | 02:44 | Click OK, and reset your Position Parameter.
| | 02:51 | Rewind you playhead back to the beginning, click
the Record button, click Play, and drag the ball up
| | 02:58 | and down, up and down, in very sharp movements.
| | 03:03 | Stop your playhead, stop Record,
and while there are less keyframes,
| | 03:08 | it still looks like its recording
stuff in between the peaks.
| | 03:11 | Well, if you hit Cmd+8, you will notice
it also recorded Z position data.
| | 03:19 | If we turn that off and reset that parameter, since we
haven't actually being moving the ball in Z space at all,
| | 03:26 | now you will notice it only recorded
the keyframes during the peaks.
| | 03:30 | So those are the Recording options that hopefully will make
your life a little bit easier the next time you use the
| | 03:35 | Record button.
| | Collapse this transcript |
|
|
5. Working with TextAdding and formatting text| 00:00 | That's right, we are starting this
project with a clean slate.
| | 00:03 | All of you typographers out there, it's time to get excited.
| | 00:06 | Just because we are doing motion graphics doesn't mean all
your basic typography principles should fall by the wayside.
| | 00:11 | So let's get started.
| | 00:12 | If it's not already open, we are in
the 01_Adding_Formatting_Text Project.
| | 00:17 | Grab your Text tool or hit T on your keyboard, and
click anywhere towards to the center of the Canvas.
| | 00:24 | Let's go ahead and set some text.
| | 00:26 | This title is going to be called Las Vegas Nightlife.
| | 00:28 | So follow along.
| | 00:30 | Let's go ahead and hit Return on
your keyboard to return your cursor.
| | 00:35 | Once you reach the bottom, go ahead and hit Esc
to set your text or hit Enter on your keypad.
| | 00:43 | Now that your text is set, go up
to the top and hit your HUD or F7.
| | 00:52 | So we have got some basic controls in the HUD.
| | 00:54 | We can adjust our Opacity of the text.
| | 00:56 | You can of course adjust your Blend Mode.
| | 00:58 | This is one of my favorite features.
| | 01:00 | When you click on the pull down, you can
actually go through each individual font
| | 01:03 | and it will give you a real time preview.
| | 01:06 | So let's go ahead and choose, I want to choose Blair.
| | 01:11 | Where is it?
| | 01:13 | With your next slider, we can go ahead and
adjust the size; I want this to be pretty big.
| | 01:16 | So go ahead and drag it up to around 106.
| | 01:20 | If you want to move in single digit increments, go
down Option and click just on the line on the right
| | 01:28 | or left side, it will move in one digit increments.
| | 01:31 | This only really works on sliders that work in whole digits.
| | 01:35 | There are some other sliders that
work in increments less than one,
| | 01:38 | and sometimes this doesn't work very
well, but it works great in the text HUD.
| | 01:44 | The next option is Tracking.
| | 01:47 | You can go ahead and squeeze that in or stretch it back out.
| | 01:51 | The last option is Line Spacing.
| | 01:53 | So let's go ahead and adjust that to -34.
| | 01:59 | The bottom one is pretty straightforward, it's Alignment.
| | 02:01 | I want to go ahead and leave this left justified, and
click on the text and drag it a little more on the Canvas.
| | 02:10 | Now, when you are setting Type, it's really important
in video, that you go up under your View options here
| | 02:14 | and you turn on your Safe Zones, to make sure that
your type actually falls within the Safe Zones;
| | 02:19 | especially if you are thinking of
using this for broadcast, because well,
| | 02:22 | it won't get broadcast if it's outside title Safe,
or it will and it just won't look very professional.
| | 02:27 | So let's go ahead and drag this over.
| | 02:29 | Now, this text is a little large, so while
I wanted it large, not quite that large,
| | 02:33 | let's adjust it back down to 90
points, and readjust the text here.
| | 02:38 | Now if you notice, we don't have even spacing
between the letters, and that's called Kerning.
| | 02:44 | So let's go ahead and adjust that.
| | 02:45 | Hit T to grab your Text tool and just click in between
L and the A. I will move my mouse out of the way here.
| | 02:53 | One of the nice things you will notice is the Overlay box
| | 02:56 | around the outside disappeared when
I went into the Kerning function.
| | 02:59 | This is so you can actually focus on what you are doing.
| | 03:01 | If you hold down Ctrl and use your arrow
keys; I am going to arrow to the right,
| | 03:06 | this will adjust the Kerning to the individual letters.
| | 03:09 | So now once that's set, I will let go of the Ctrl
key, using my arrow key to go to the next one,
| | 03:15 | if I wanted to adjust that; I will just pinch that in
one, and just kind of go through the rest of the title
| | 03:21 | and see if there are inconsistencies
that you would like to adjust.
| | 03:27 | Once you are all set with that, again, you
could go ahead and hit Esc to set that.
| | 03:32 | Now, I mentioned the Overlays turning off.
| | 03:34 | If you ever need to turn them off yourself, you can
do Cmd+/, and that will just have them disappear.
| | 03:40 | It will also make your title and
action safe disappear as well.
| | 03:45 | If you didn't have enough controls with the HUD,
of course we can always go to the Inspector.
| | 03:49 | So go ahead and click on the I.
| | 03:51 | One thing I want you to notice, the Layer that
this text actually lives on has its own scale.
| | 03:58 | If we actually go into the text here, the text has its
own size as well, and they are actually independent.
| | 04:06 | If you notice this, I am adjusting the scale
here, the size of my text is not changing.
| | 04:11 | It's just something you want to pay
attention to when you are animating.
| | 04:14 | Same thing with your Scale.
| | 04:17 | You can actually Scale the text.
| | 04:19 | Same thing here, you can actually Scale the layer.
| | 04:22 | So just understand that these are independent.
| | 04:25 | So let's get back to 100.
| | 04:27 | So let's check out the Text options.
| | 04:30 | Under Format here, we have pretty much the same
options we had in the HUD, but we have more.
| | 04:36 | Of course, we can adjust the Slant, which is kind of
nice, if you don't have an Italic font, you can go ahead
| | 04:41 | and make it Italic by adjusting your Slant.
| | 04:43 | You can adjust the Scale of the X or the Y independently.
| | 04:47 | So if you really wanted to tweak your
text, you could definitely do that.
| | 04:52 | We have Offset, which just offsets
your text from your Anchor Point.
| | 04:58 | You have your Rotation.
| | 04:59 | Now this is really nice because if you notice, when
I do the Rotation, it rotates the individual letters,
| | 05:05 | as opposed to if I did Rotation out
here, it would rotate the entire thing.
| | 05:13 | Another feature is Monospace.
| | 05:14 | If you go ahead and check that, what it
does is it tries to space out the text
| | 05:18 | with an extra space in between the letters.
| | 05:21 | All Caps is great.
| | 05:23 | Let me change the font so you can kind of see All Caps.
| | 05:26 | So I have got this one, its kind of
handwritten, and now its All Caps.
| | 05:34 | You can actually adjust the All Caps size, so you
can see how large or small your drop caps are.
| | 05:41 | Text in Motion is wonderful, because in the past you used
to have to go into other applications, like Photoshop
| | 05:46 | or Illustrator to do your layout, I hope you can see
all the tools that are available for you in Motion
| | 05:51 | so now you can actually set everything
right within one application.
| | Collapse this transcript |
| Creating text on a path| 00:00 | So for those of you who wanted even more precise
control over your Text Layout, welcome, Path Text.
| | 00:07 | If you don't already have it open,
we are in the 02_PathText Project.
| | 00:11 | Go ahead and grab your Text tool; T on your keyboard.
| | 00:15 | Click in the middle of your Canvas,
and type the words 'Roller Coaster.'
| | 00:18 | Hit Esc to set it, and hit F4 to open up your Text options.
| | 00:25 | What we want to do is change the Layout.
| | 00:27 | Under here we have our Type Layout,
we want to change that to Path.
| | 00:31 | Now you notice, it appears as though nothing happened.
| | 00:34 | No problem, we just need to click on our
Text tool, and click back inside the text.
| | 00:40 | If this happens, don't sweat it, just hit Escape
and reselect your text, grab your Text tool
| | 00:47 | and click a little closer to the baseline.
| | 00:53 | There we go.
| | 00:53 | You should notice now we have the 3-anchor path.
| | 00:57 | If you go ahead and click on the center Anchor Point and
drag it up, you will notice now we have Bezier handles.
| | 01:03 | That will adjust the shape of the path,
just like any other Bezier Handle tool.
| | 01:09 | If you would like those handles
on and Anchor Point on the end,
| | 01:12 | go ahead and Control-click or right click and choose Smooth.
| | 01:17 | I am not going to use that on my
project, so I will just Undo that.
| | 01:23 | If you would like to add a point to the
Path, hold down Option and roll over the path
| | 01:28 | and you will notice your cursor should
change into the add a point Path tool.
| | 01:32 | So if we go ahead and click there, Now we have another
point that we can go ahead and adjust the path with.
| | 01:38 | Let's go ahead and check out some of the other Path shapes.
| | 01:41 | Go to your Path Options over here in
your Text tab and pull down Open Spline.
| | 01:46 | If you choose Closed Spline, you will notice
it goes ahead and closes off that Spline,
| | 01:50 | and sometimes you will notice the
text flip around like this.
| | 01:53 | Don't sweat it, just drag your Path Offset
and your text will go ahead and slide around.
| | 01:58 | Some people get thrown off a little bit because they
want this text to be inside the circle on the bottom.
| | 02:04 | Now, if I drag my Path Offset here,
it flips the text backwards.
| | 02:08 | That's because this isn't a circle, this is a Closed Spline.
| | 02:11 | The next option is Circle.
| | 02:14 | If I go ahead and click Inside Path, and adjust the Offset
again, now we have the text in the bottom of the circle.
| | 02:22 | You can actually adjust the shape of the
Circle just by clicking on one of the points
| | 02:26 | and dragging it out, if you wanted it to be an Oval.
| | 02:29 | Another one of my favorites, the Rectangle; this is a
lot of fun and it looks really neat when you animate it.
| | 02:35 | Go ahead and adjust the Path Offset.
| | 02:38 | The reason I said animate, obviously if you click
on this pull down, there is the Add Keyframe option,
| | 02:43 | so you can Keyframe this and animate
it, sliding around the box.
| | 02:48 | The next one is Wave, and the final one is Geometry.
| | 02:53 | The way this works, you can draw your Custom
Path and drag it into the Shape Source Drop Well.
| | 02:58 | So let's grab our Bezier Path tool and just draw
a Path; I am clicking and dragging to draw a Path.
| | 03:06 | Click drag, click drag; the drag
is dragging out the handles.
| | 03:09 | If I just clicked, it would just give me a sharp
point like that, and open your Layers tab, F5.
| | 03:17 | If you don't see the Path in here, don't sweat it,
| | 03:19 | just click anywhere in your Layers
tab and you will notice it appear.
| | 03:22 | So we want to go ahead and select the
Roller Coaster text, and now in one swoop,
| | 03:28 | click and drag this shape into the Shape Source.
| | 03:32 | Now we have the text on the Path, and if
we go ahead and adjust our Path Offset,
| | 03:37 | you notice it is now rolling along the Path, and it's
upside down, because we check the Inside Path option.
| | 03:43 | If we uncheck that, now you will
notice it will roll nice and smoothly.
| | 03:47 | Even though we can't see the Path, we
can actually go back here and adjust it.
| | 03:52 | Just click on your tools and grab the Adjust Points tool and
now we can go ahead and just click and drag and adjust this.
| | 04:01 | When we go back to our shape, it goes ahead and updates.
| | 04:06 | Go ahead and drag the Path Offset again.
| | 04:09 | So there you have it, Path Text, even more precise
control over your text layout and animation.
| | Collapse this transcript |
| Animating text| 00:00 | In this movie we are going to animate some text.
| | 00:02 | First of all, animate text on the Path, and then
we will move along and animate just straight text.
| | 00:07 | So let's get started.
| | 00:09 | Grab your Text tool.
| | 00:10 | Click in the center of your Canvas
and type the words Floating Text.
| | 00:16 | Hit Esc to set your text.
| | 00:20 | What we want to do here is make the text
look like its floating on top of a wave.
| | 00:25 | So let's go ahead and center our text.
| | 00:27 | If your Snapping is not on, go ahead and hit N.
There we go, and open up our Text options, hit F4.
| | 00:37 | So under the Text tab here, we want to go to
Layout, and change our Layout from Type to Path.
| | 00:44 | Down under Path Shape, let's choose Wave.
| | 00:47 | Just so we see a little bit more of the wave, go ahead
and adjust the Tracking; just so it spreads out across
| | 00:54 | that wave a little more, and now
to go ahead and get this floating.
| | 00:59 | What you want to adjust is the Phase.
| | 01:01 | So if you click and drag in the number here, you will notice
the Phase is nicely moving, and its giving us the effect
| | 01:07 | that the text is floating on top of the water.
| | 01:09 | So what we want to do is have this
number change at a constant rate.
| | 01:16 | Go ahead and right click on the word Phase and choose Rate.
| | 01:20 | Now, we have just added a Parameter
Behavior and the Rate is set to 0.
| | 01:25 | So go ahead and hit your spacebar, and drag the
Rate number up so we get some actual animation.
| | 01:34 | These are pretty rough seas, so what I want
to do is go back to my Text options here,
| | 01:38 | and change the Amplitude of that
wave down, just a little bit.
| | 01:41 | So go ahead and drag that down, and
notice the text is wrapping back around,
| | 01:47 | so go ahead and, I could uncheck Wrap Around.
| | 01:49 | Let's move along and animate some straight text.
| | 01:54 | I am going to go ahead and stop my playback here.
| | 01:56 | Make sure your playhead is back at the beginning.
| | 01:59 | Open F5. I want to keep this, so I will just turn that
Layer off and lock it, so I don't edit it anymore.
| | 02:07 | I will grab the Text tool, click in the
center here, and type the words Coming Soon.
| | 02:12 | Hit Esc to set your text.
| | 02:15 | What we want to do here is make this text
grow out towards us and slowly spread apart,
| | 02:22 | just like the typical end of a movie trailer.
| | 02:24 | So go ahead and change your Alignment to Center,
and drag the text to the center of your screen.
| | 02:31 | You will notice, my screen is a little larger here,
so I am going to hit Shift+Z to fix the magnification,
| | 02:37 | so now I can definitely see that this
text is right in the center of my screen.
| | 02:41 | Go ahead and close the Layers tab.
| | 02:43 | The first thing we want to do is get this
text growing like it's coming towards us.
| | 02:48 | We can do that with the Behavior.
| | 02:49 | Go up to Add Behavior, Basic Motion, Grow/Shrink.
| | 02:54 | In your HUD, if its not up, hit F7, go ahead
and drag the box up, click in your Canvas,
| | 03:03 | and hit the spacebar and see what this looks like.
| | 03:05 | So go ahead and select your text again, and let's
adjust the Grow/Shrink just a little bit more;
| | 03:15 | I want it to grow a little faster.
| | 03:17 | I will stop playback just for now, and
Rewind my playhead back to the beginning.
| | 03:23 | The next thing we want to do is
have the text slowly spread apart.
| | 03:28 | So let's go to our Text tab here and adjust the Tracking.
| | 03:32 | Just like in the previous animation, we want
this tracking to spread out at a constant rate.
| | 03:38 | So go ahead and right click and choose Rate,
hit your spacebar, and drag your Rate out.
| | 03:45 | We really only want it to move maybe at 1.
| | 03:54 | So the last thing we need to do is
just Add a Fade In and a Fade Out.
| | 03:58 | Click on Add Behavior, Basic Motion, Fade In/Fade Out.
| | 04:12 | If you want to see what else is possible, you should browse
through some of your Library's preset text behaviors.
| | Collapse this transcript |
| Using pre-built text behaviors| 00:00 | In this video I want to show you just how fast you can
animate your text using Motion's prebuilt Text Behaviors.
| | 00:06 | So navigate in your Library
| | 00:08 | to the Behavior section, and you'll
notice under Text Animation there are
| | 00:13 | a couple of behaviors, but if you go to Text Sequence,
| | 00:17 | I want to choose something out of the
Text-Move. There are a ton of behaviors.
| | 00:22 | So let's go ahead and use Backward Flip. What we do is just drag
the Behavior and drop it right on your text. You know you're
| | 00:29 | on the right place when you get your mouse over the text
and you get the green plus button. Go ahead and let go,
| | 00:34 | and hit the spacebar and preview your text animation. If you
would like it to be a little bit faster, all you have to do is
| | 00:41 | click on the end of your animation,
and just drag it over to the left.
| | 00:47 | And now it's faster.
| | 00:50 | So we have an Animation In. Let's go ahead and choose an Animation
Out. I'm just going to stop playback here for a quick second.
| | 00:58 | This time let's choose
| | 01:00 | Fly Out.
| | 01:02 | So go ahead and click on Fly Out.
| | 01:05 | Go up to Apply,
| | 01:07 | and apply the behavior. Now, one thing I want you to note,
whenever you apply a prebuilt text behavior, Motion
| | 01:13 | automatically puts it at the head of
the layer. Since this is an Animation Out,
| | 01:16 | I want to go ahead and drag that
| | 01:19 | all the way to the end of the project. If you want to trim it to be
a little shorter, go ahead and just grab the end of it and trim it up,
| | 01:25 | and drag that
| | 01:27 | and drag that to your project's out point.
Go ahead and hit the spacebar.
| | 01:32 | And now we have an Animation Out.
| | 01:33 | So there is the In
| | 01:36 | and there is the Out.
| | 01:39 | Go ahead and stop your playback,
| | 01:41 | and to show you just how much time we are saving. Go to your
Inspector and hit your Behaviors tab and check out all of the different
| | 01:48 | parameters that have been animated
using your prebuilt text behaviors.
| | 01:53 | So text behavior presets. It's a great place to look for
some prebuilt complex animations you can use for your text.
| | Collapse this transcript |
| Using text styles| 00:00 | So as you can see we have some text here
that's in desperate need of some style.
| | 00:05 | So go ahead and open your Project
pane, F5, and select the text.
| | 00:08 | Now let's go to our Library and browse some Style Options.
| | 00:14 | A very popular one is Live Fonts.
| | 00:16 | I really like Live Fonts, but it has some limitations.
| | 00:21 | Let's say for example, I want to choose this Flip Clock.
| | 00:24 | I will just go and drag it and drop it
right out on to the text, and let go.
| | 00:28 | Go and hit your spacebar and let's see what it looks like.
| | 00:32 | That looks pretty cool.
| | 00:35 | I could go to my Inspector, click
on Text and change the Format.
| | 00:40 | Now, with Live Fonts, all you can do pretty
much is change the Size and change the Tracking.
| | 00:47 | If I were to change the Text to let's say Blue text or
White text, instead of red text, I just can't do it.
| | 00:55 | So for this reason, most of the time, I
actually end up using my System Fonts.
| | 00:59 | Let's go ahead and click on that,
we will bring the System Fonts back.
| | 01:03 | Let's change this back to our Helvetica.
| | 01:10 | There we go.
| | 01:11 | Go up to your View and open up your Safe Zones; this
is really important when you are laying out text,
| | 01:16 | you want to make sure that the Text is inside
this inner square here called Title Safe.
| | 01:21 | Let's go ahead and adjust the Size of that text
back down, and let's look at some other options.
| | 01:26 | Click on the Style tab.
| | 01:28 | This first option here deals with the Face.
| | 01:31 | So for example, I could click in this drop well and make the
text Yellow, but what I would like to do is add a Gradient.
| | 01:40 | So go ahead and click on the pull down and chose Gradient.
| | 01:44 | I am going to go ahead and close my Layers Tab
here, just so we can see things a little easier, F5.
| | 01:48 | Click this little arrow next to the Gradient,
and let's look at some of these options.
| | 01:55 | So you will see this repeated throughout
Motion, anytime you select the Gradient option.
| | 01:59 | Let's go ahead and change our Start Color.
| | 02:02 | Click on this little square, this little Color
tab here, and go ahead and adjust the Color.
| | 02:07 | I could drag Sliders, or I could click on the Eye Dropper
and choose something straight out of the background.
| | 02:13 | If I want to adjust my Next Color here; go ahead and
click on that Color Tab and adjust it accordingly.
| | 02:21 | So that's pretty close to what I was looking for.
| | 02:24 | Let's go ahead and add another Color here in the Gradient.
| | 02:26 | To add another Color in the Gradient, just click in the Bar,
and you will notice another one these Color Chips comes up.
| | 02:32 | if you right click in the drop well, you will get this
Quick option, where you can easily just choose a color.
| | 02:37 | I am just going to choose this Electric Pink right here.
| | 02:41 | If you don't like that, go ahead and
click on the Color and quickly drag it off
| | 02:45 | to the right, and you notice it disappears.
| | 02:48 | So if you go ahead and select any of the other Color
Chips, you notice you get this little triangle right here.
| | 02:55 | What this does is it will allow
you to adjust the Center Point
| | 02:59 | of how faster Gradient changes from one color to the next.
| | 03:04 | So I have set my Gradient, the text is kind
of blending into the background a little bit,
| | 03:08 | so I am going to close my Face options and add an outline.
| | 03:12 | The red is a little bright, so go ahead
and right click, and choose black.
| | 03:17 | There we go.
| | 03:18 | It has kind of get a rough edge to it, but I like it.
| | Collapse this transcript |
| Creating your own text preset| 00:00 | So you have gone through the hard work of
stylizing your text and coming up with an animation.
| | 00:05 | Let's learn how we can save that for future projects.
| | 00:08 | Go ahead and move your playhead to the beginning and
hit the spacebar, let's check out what we have got.
| | 00:13 | Well, it looks like we have stylized some text, we
have an Animation In, and we have an Animation Out.
| | 00:20 | So let's stop playback for a second
while we check things out.
| | 00:23 | Hit F5 to open your Layers tab and open the Text Group.
| | 00:28 | Open your text layer and select it.
| | 00:31 | So you notice, we have some Behaviors
here, Fade Outs ad Fade Ins.
| | 00:37 | I would like to save all of this as one preset behavior.
| | 00:41 | So let's go ahead and save that first.
| | 00:43 | Go to your Library and scroll down to your Favorites folder.
| | 00:48 | Select all of your behaviors.
| | 00:49 | Click on the first one, Shift-click and click on
the last one, and drag them down into this well.
| | 00:57 | You will notice it's asking, "Do you want
to save each one as an individual file,
| | 01:01 | or would you like to save them all in one file?"
| | 01:04 | I would like to save this all in one file.
| | 01:06 | So go ahead and let go and double click
to rename your Preset, and hit Return.
| | 01:14 | That's it.
| | 01:18 | Anytime you want to apply this to a
future piece of text, you just go ahead
| | 01:24 | and drag it and drop it right onto the text.
| | 01:27 | Next, we need to save our Text Style.
| | 01:30 | Go ahead and select the text layer.
| | 01:31 | Let's go to the Inspector, select your Text
layer, and make sure you are Under Style.
| | 01:37 | Now, to save your preset, it's pretty straightforward.
| | 01:40 | Click on the pull-down menu and click Save Style.
| | 01:43 | It will ask us to name it, and click Save.
| | 01:51 | So for any text in the future you
would like to apply the style to,
| | 01:54 | go ahead and click on the pull-down and
it will be right there in your list.
| | 02:00 | So rest assured, all your hard work will be
saved for you for future use in your presets.
| | Collapse this transcript |
|
|
6. Using FiltersApplying and adjusting filters| 00:00 | In this movie we are going to learn about filters.
| | 00:02 | I want you to know how filters can completely
change the look and feel of a graphic.
| | 00:07 | So what we have -- go and hit your spacebar.
| | 00:11 | We have this little Mini sliding its way across the country.
| | 00:15 | And when it gets to Montana the text
appears and the car gets all setup.
| | 00:19 | What I would like to do is have the map get older so it
gets to Montana, it's sort of like this Old West feel.
| | 00:29 | So let's get started with some filters.
| | 00:31 | Go and stop your playback.
| | 00:33 | Move your playhead back to the beginning and
open your Library tab and click on Filters.
| | 00:40 | So the first thing I want to do is colorize this.
| | 00:44 | So let's go to the Color Correction
and there's a filter called Colorize.
| | 00:49 | What it does it substitutes black
and white brightness values
| | 00:52 | for colors you choose, so let me show you what I mean.
| | 00:55 | Drag and drop that right on out to your canvas.
| | 00:58 | Now we are getting close, but hit F7, open up your HUD
and let's remap the black values to this dark, dark brown.
| | 01:07 | So go ahead and right click in here and
we'll make that kind of a deep dark brown.
| | 01:13 | I want to make the brighter stuff even darker.
| | 01:17 | So click in the Remap white area and change
the lighter color to a slightly darker shade.
| | 01:24 | Okay I think this is about right.
| | 01:25 | Now hit F5 and open up your Project pane.
| | 01:28 | And that's exactly what I thought, when we dragged and drop
this, the filter apply directly to the bottom most layer
| | 01:35 | which was this map and since I didn't have the
filter right on the car, it didn't apply to the car.
| | 01:39 | So go ahead and drag your Colorize filter up to the
MAP Group and now you know that the car has taken
| | 01:45 | on theme, colorization properties as the map.
| | 01:48 | So like I said I want this to slowly change over time.
| | 01:52 | So what we need to do is actually Keyframe
how slowly this filter mixes with the map.
| | 01:59 | So open up your Inspector and make
sure you are on your filters Tab.
| | 02:05 | Right down here at the bottom is this value called
Intensity and if you slide it all the way left,
| | 02:09 | you noticed it has absolutely no effect
and then when you drag it all the way
| | 02:14 | to the right, it completely applies the filter.
| | 02:17 | So what we want to do is keyframe this.
| | 02:20 | So slide all the way to the left, click on
the pull down menu and choose Add Keyframe.
| | 02:25 | Now I want this effect to happen over the first two seconds.
| | 02:28 | So go ahead and click and move your playhead to 2 Seconds.
| | 02:33 | And now click on your pull down, say Add
Keyframe and change the Intensity all the way up.
| | 02:40 | Let's check out what we just did, move your
playhead back to the beginning and hit the spacebar.
| | 02:44 | All right, that where we are starting to
get the feel of what I am looking for.
| | 02:50 | I would like to take it a little bit further.
| | 02:52 | Go ahead and realign your playhead back to
the beginning and this time add a Vignette.
| | 02:57 | Go to your Library and do a Search for Vignette.
| | 03:01 | There it is, let's drag it and
drop it right to the map itself.
| | 03:06 | And here we have got a nice Vignette filter.
| | 03:08 | Let adjust its size, if your HUD isn't
up, hit F7 and bring your HUD up.
| | 03:14 | We'll make it a little bigger and bring
its fall off down just a little bit.
| | 03:21 | And I know that looks harsh right now,
that's because we haven't mixed this in yet.
| | 03:25 | Right now this is being applied to
the untinted version of the map.
| | 03:30 | So let's go ahead and move our playhead down.
| | 03:37 | So what I want to see happen is have the color
change and then have the Vignette fade up.
| | 03:41 | So we'll go ahead and trim the Vignette.
| | 03:44 | Move your playhead to 2 Seconds and hit I.
| | 03:48 | Now go back to your Inspector and under
your filters there's Vignette and you guess,
| | 03:53 | it will adjust the Mix property,
it's all the way in the bottom.
| | 03:57 | Drag your slider all the way to
the left, click on the pull down.
| | 04:01 | Choose Add Keyframe, that's only moved down 1 Second.
| | 04:05 | Type +100 and hit Enter, then moves
your playhead down 1 Second
| | 04:10 | and click on your pull down, say
Add Keyframe and drag your slider.
| | 04:16 | Move your playhead back to the
beginning and hit your spacebar.
| | 04:24 | I like it.
| | 04:26 | The Montana text doesn't quite completely max, so stop
your playhead towards the end and let's focus on the text.
| | 04:33 | Go and close your map here and open up the
Montana text and let's change the color.
| | 04:38 | If you click in the Color Well, over here this
is Magnifying Glass, if you click on that,
| | 04:43 | that will allow you to pick your
color from anywhere on the map.
| | 04:46 | Now I want it to match this Virginia text.
| | 04:48 | So roll it over the Virginia text and when the cross hairs
are over the dark area of Virginia go ahead and click.
| | 04:55 | There we go, now we have got a
nice match for the Montana text.
| | 04:59 | This is almost complete but what I would like
to see happen when the Montana text pops up,
| | 05:03 | I'd like it to jerk-around like
it's on an old television set.
| | 05:07 | Let's apply Television filter.
| | 05:10 | Go to your Library and we'll search TV.
| | 05:13 | And there's Bad TV.
| | 05:16 | Go ahead and drag and drop that right to the Montana
text, and this had a tendency to happen sometimes
| | 05:22 | When you apply filters, specifically the objects
sometimes the filter will get cut off by that object
| | 05:28 | and the way you get around is to just drag the filter
all the way up to the group that that Layer was on.
| | 05:36 | Select the Layer, go to your Inspector, select
the group option and check Fixed Resolution.
| | 05:44 | Now you notice the filter isn't cut off anymore,
it's actually being applied to the entire group.
| | 05:50 | And since that group only contains the
text, it's only affecting the text.
| | 05:54 | So let's go ahead and select the Bad TV filter.
| | 05:58 | And just adjust things a little bit.
| | 06:00 | The reason it moved down, the roll property.
| | 06:03 | Its not have got much, so we'll
just take that down to a -100.
| | 06:08 | And let's move our playhead back to the beginning of Bad TV.
| | 06:12 | Hit our spacebar and see what happens.
| | 06:14 | And that's it.
| | 06:16 | I only want that to happen for about,
I don't know a couple of frames.
| | 06:20 | So move your playhead to the beginning of the Layer, hit
Shift+I and I only want this to happen for about 15 frames.
| | 06:27 | So go ahead and click and type +15 and hit Enter.
| | 06:32 | And no Hit O and that will trim
the out point of your filter.
| | 06:37 | Go ahead and move your playhead back
to the beginning and hit your spacebar.
| | 06:50 | And that's it.
| | 06:51 | So as you can see there are some minor glitches with
filter every once in a while but nothing you can't handle
| | 06:55 | if you just sit back and analyze the situation.
| | Collapse this transcript |
| Applying multiple filters| 00:00 | In this video it's not as much about completing the
task, as it is about learning how filters function.
| | 00:06 | When you open the Project pane it's important to know what
you are looking at, and how the filters are functioning.
| | 00:10 | Once you have more than one filter
applied on a Layer or group.
| | 00:13 | What we are going to do is stylize this video into
a background that we can later use for a DVD menu.
| | 00:20 | Let's start in the Library and let's preview some filters.
| | 00:24 | I want to stylize this, so click on Stylize.
| | 00:28 | Let's use Line Art.
| | 00:29 | Go and drag and drop that right out on to your video.
| | 00:34 | Go and hit the spacebar and let's check out how this looks.
| | 00:37 | This is one of my favorite filters and it still
amazes me to this day that it plays in real time.
| | 00:43 | Let me go and pause that for the time
being and let's apply one more filter.
| | 00:49 | We'll apply circles.
| | 00:50 | Go and drag that and drop that right out.
| | 00:52 | Now it's hard to see what's happening here, but if you
drag this slider up and go ahead and hit the spacebar.
| | 01:00 | Now you can all these cool circles
are flying around the footage.
| | 01:07 | Open up your Project pane.
| | 01:09 | Let's analyze what's going on.
| | 01:12 | Go and close your HUD.
| | 01:16 | Pause for a second here while we dissect what's happening.
| | 01:20 | Right now we have the Line Art
filter and then the Circles filter.
| | 01:23 | Let's see what happens when I drag Line Art above circles.
| | 01:27 | See that change.
| | 01:28 | Basically now what's happening, this serves video the base.
| | 01:33 | The next thing that's applied is Circles and then
the Line Art is actually tracing the Circles.
| | 01:38 | So it's really important to understand the order in
which you apply your Filters and they actually work
| | 01:42 | from the bottom-up, just like you were painting.
| | 01:44 | So go ahead and move Line Art underneath the
Circles filter, and let's adjust the Circles filter.
| | 01:51 | Open your Inspector and I just
want to make this a little smaller.
| | 01:55 | Now we're close but I would like to
add some color back into this clip.
| | 01:58 | So duplicate your video clip by selecting it.
| | 02:02 | Going up under Edit and choose Duplicate.
| | 02:04 | And I don't want the Filters on this top
most Layer, so go ahead and select both
| | 02:09 | of the Filters and hit Delete on your keyboard.
| | 02:12 | Now this is pretty much the untreated footage.
| | 02:14 | And let's make this blend a little
better, hit F7 and open up your HUD.
| | 02:18 | We want to change the Blend mode, change it to Overlay.
| | 02:23 | And now we have a nice soft color
on top of our treated footage.
| | 02:28 | Hit the spacebar and let's see what it looks like.
| | 02:33 | This is really close but I would
like to add a couple of more Filters.
| | 02:41 | Let's pause this for a quick second.
| | 02:44 | First off I want to adjust the Opacity
of the color down just a little bit.
| | 02:48 | Strike that down to 50.
| | 02:50 | And I would like to actually add a
filter that will affect both Layers.
| | 02:55 | So rather than applying a filter directly
to one Layer, and then the other Layer,
| | 02:58 | I am going to select the main Group here.
| | 03:01 | And go to my Library and this time let's add a glow.
| | 03:06 | Click on Light Rays and click Apply
to apply that to the whole Group.
| | 03:11 | And of course it's a little bright, so click in your HUD
and bring that down, and bring the Glow Value down as well.
| | 03:19 | Hit the spacebar and let's see what we have got.
| | 03:28 | This is pretty close but the surfer is kind of washed out.
| | 03:31 | So I am going to hit the spacebar
here, pause it just for a second.
| | 03:34 | And look at my Line Art.
| | 03:37 | I think the Paper Opacity is a little bright.
| | 03:40 | And let's actually change the paper
color from White to Blue.
| | 03:44 | Go ahead and right click on the color pallet
and drag it over to a nice light blue.
| | 03:51 | Now even though it's washed out,
it has a nice cool tone to it.
| | 03:54 | Go ahead and hit the spacebar and let's check it out.
| | 03:59 | So when adding Filters, just keep
in mind the order of things.
| | 04:02 | Visually multiple filters on one layer work just
like you would paint something from the bottom-up.
| | 04:08 | And if you want to apply a filter to affect everything in a
group, obviously you should apply that filter to the group.
| | Collapse this transcript |
| Being creative with filters| 00:00 | In this movie we are going to start with this dancer.
| | 00:02 | I am going to cut him out of his
background using a process called Keying.
| | 00:06 | Then we'll change him a silhouette from over a
colored background and tile him all over the screen.
| | 00:11 | And we are going to do this all using Filters.
| | 00:14 | So first off let's see what we have got.
| | 00:17 | Hit F5 to open up your Layers tab, then
you'll notice we have the Breakdancer
| | 00:20 | and we have a green rectangle underneath.
| | 00:24 | Then turn the rectangle off for right now.
| | 00:26 | And turn the dancer back on.
| | 00:29 | So like I said, we are going to Filters so open
the Library, Cmd+2 and move to the Filters section,
| | 00:35 | and like I said we are going to use the process
of Keying to cut him out of the background.
| | 00:39 | So let's go to Keying and we are going to use a Luma
Key, and the reason we are using a Luma Key is it cuts
| | 00:45 | out the image based on the luminance
and luminance is basically brightness.
| | 00:50 | So White is a 100% bright.
| | 00:52 | Black is a 100% in the opposite direction.
| | 00:55 | So Luma will cut out anything that's white and that's
the perfect thing to do for this specific clip.
| | 01:02 | So go ahead and drag and drop it right out on to your clip.
| | 01:05 | Now the thing I love about the Luminance Key is the
fact that there really aren't that many options.
| | 01:10 | Hit F7 and pull up your HUD.
| | 01:13 | Then you notice the first option I could
key out brighter, or I could key out darker.
| | 01:17 | Well since I wanted to key out the white, I chose brighter.
| | 01:21 | I keep using this term Key.
| | 01:23 | Keying is the process of cutting something out and in order
to see what's getting cut out we have to look at a matte,
| | 01:29 | and the way you do that, you go up under
color here, and you look at the alpha channel.
| | 01:35 | And alpha channel is the matte that's generated by the Key.
| | 01:39 | So whatever is white on your matte is being allowed to
show through and whatever is Black is being cut out.
| | 01:46 | So let's go and change that back to color.
| | 01:50 | And like I said we want to change him into a
silhouette and we'll put him over this background.
| | 01:55 | So let's turn our background layer back on so we
know what the final comp is going to look like.
| | 01:59 | And now let's use Tint to change him to a silhouette.
| | 02:03 | Click in the search field and just type Tint.
| | 02:07 | And if you click on Tint, you'll see it
adjusts the overall using the color you choose.
| | 02:12 | So ahead and drag and drop that
right out on to your breakdancer.
| | 02:17 | And you notice right now its set to Brown.
| | 02:19 | So right click and just set it to Black.
| | 02:23 | He looks pretty good but I would like him to be a
little more vibrant, so we need to adjust the Luma key.
| | 02:28 | Go ahead in your HUD and go to the
Luma key in your pull down menu.
| | 02:32 | And adjust the tolerance and basically
the tolerance is just how strong
| | 02:38 | of a Key is being pulled, again, based on the brightness.
| | 02:42 | So there that looks wonderful.
| | 02:45 | Now we are just going to take it a couple of steps further.
| | 02:48 | I want to tile him all over the screen.
| | 02:51 | So let's go back into our Filters and look up Tile.
| | 02:55 | There we go and the Filter I really
want to use is called Kaleidotile.
| | 03:00 | So have got the Tile here, that's pretty good
but I want something a little more psychedelic.
| | 03:06 | So there's Kaleidotile, go ahead and drag and drop it in
your Layers tab right to the Breakdance layer and let go
| | 03:13 | and you'll notice everything turns black.
| | 03:16 | And that's because Kaleidotile when you apply it
has this little selection box and if you drag this
| | 03:21 | over different parts of the image, or scale it,
it will show you different parts of the image.
| | 03:27 | So you notice what's going on right here.
| | 03:29 | I'll go ahead and hit spacebar and see what we have got.
| | 03:35 | Well that's close but I think he's a little too big.
| | 03:38 | So what I would like to do is actually scale him down.
| | 03:41 | So I am just going to pause for a
second and select the Breakdance layer,
| | 03:45 | go to my Inspector and we'll just scale him down.
| | 03:49 | Hit the spacebar again, and there's a problem
with this and basically the problem is the fact,
| | 03:56 | the Kaleidotile filter is only taking up
the size of that individual layer and I know
| | 04:02 | that because I see this border right
around the outside of that edge.
| | 04:06 | Go and drag your Kaleidotile filter up to the main
group, and this will apply to absolutely everything
| | 04:13 | and now you notice the edge of that
Filter is outside of my composition.
| | 04:17 | And now let's go ahead and resize this box for this filter
and move it to an area where's its going to show the dancer.
| | 04:27 | Deselect everything and hit the spacebar.
| | 04:30 | So there we go, a creative way of using Filters.
| | 04:35 | A Luma Key and Tint to one Layer and Kaleidotile for the
whole thing and we have got one pretty fancy background.
| | Collapse this transcript |
|
|
7. KeyingUnderstanding different types of keying| 00:00 | Keying is the process of cutting something out of its background
using either a color value, know as Chroma Keying, or brightness,
| | 00:07 | known as Luma Keying. Typically when someone shoots something
that needs to be keyed they use either a blue or green screen.
| | 00:14 | These colors have proven to be the easier colors to work with. If
it's not already open, we are in the 01 Key Types projects. Hit F5 to
| | 00:22 | open up your Project pane. And you'll notice in this example, I have
shot my friend Jake here on a green screen. If you turn off the
| | 00:28 | top layer, you can see what a Chroma Key typically looks like
once it's actually been applied. Blue and green screen shoots are
| | 00:35 | usually the best way to shoot something if you
want to keep the subject looking photo-real.
| | 00:40 | The next example is a Luma Key. Let's see what that looks like.
Turn off the green keyed layer and you'll notice I have this dancer
| | 00:48 | on a background.
| | 00:49 | Typically I use a Luma Key to create a
stylistic look and not for photo-real shoots.
| | 00:54 | If you turn off the Luma Keyed layer, let me show you what
I'm talking about. Open up the Luma Keyed group and open up the
| | 01:02 | Luma Keyed layer, and you'll notice
| | 01:05 | I have two things applied here.
| | 01:07 | So the first thing you want to
do is key based on the Luminance.
| | 01:11 | So if you check that check box you'll notice I'm left
with something that's not very photo-real looking.
| | 01:16 | Well,
| | 01:17 | like I said I'm just trying to create a stylistic look. So I
applied a Tint Filter to it to change the majority of it black.
| | 01:24 | And then I added a color background underneath so I could
see exactly what it'd look like. Now obviously I used a blue
| | 01:29 | rectangle but you could use whatever footage you want
| | 01:32 | or whatever graphic you want.
| | 01:34 | So as you can see with a Luminance Key, it's very
easy to create a stylistic look on a background
| | 01:40 | but it's not something you really want to go to for photo
real things. In my honest opinion, Motion is okay for keying
| | 01:47 | things. If you find yourself keying a lot of footage or doing
a lot of detailed keys, one of the products you should be
| | 01:53 | checking out is Shake, or at the very at least After Effects with
the Keylight filter. So now that you know a little bit about the
| | 02:00 | different types of keys, let's get started and actually
| | 02:03 | pull a key using the Primatte RT Filter here in Motion.
| | Collapse this transcript |
| Pulling a simple key| 00:00 | Here we are going to key this footage
to create a little news promo.
| | 00:03 | I would like to thank my friend Jake for helping me
out and letting me shooting him on some green screen.
| | 00:08 | Now as you'll see keying is never quite an exact science.
| | 00:11 | It's a little bit more of an art.
| | 00:13 | The key to keying is actually in a shoot.
| | 00:15 | And you want to make sure to separation
between your subject and the background,
| | 00:18 | so the background color doesn't
bleed on to your subject at all.
| | 00:21 | You also want to make sure your subject
doesn't cast a shadow on to the background,
| | 00:26 | that way you'll end up with a nice, smooth
constant color and will be easier to pull the key.
| | 00:31 | If it's not already open, we are
in the 02_PullingKey project.
| | 00:35 | Hit F5 to open up your Layers tab
and Cmd+2 to open up your Library.
| | 00:40 | Go to Filters and Keying.
| | 00:43 | And you'll notice there are a number
of keyers supplied in Motion.
| | 00:47 | The one I have had the most success with is Primatte RT, so
go ahead and drag and drop that right on to your footage.
| | 00:52 | And you'll notice it immediately starts taking effect.
| | 00:55 | Hit F7 to bring up your HUD, and you'll
notice right now it's keyed out Brown.
| | 01:01 | Let's Auto Sample Green since we
know it's a green screen shoot.
| | 01:04 | And you'll notice it's beautifully keyed out all the
green but it's also keyed out about 90% of my talent.
| | 01:10 | One of the things I like about
Primatte RT is the fact that I can look
| | 01:13 | at the different elements of my key for example the Matte.
| | 01:16 | Now if your output if you click you'll
notice, I can look right at the Matte.
| | 01:20 | And so this is showing me my transparency
values for this image.
| | 01:24 | I can also go back to my original Foreground image, or the
Background itself, which is just what's underneath my image.
| | 01:32 | So let's go look at the Matte and make some adjustments.
| | 01:35 | The first thing I typically do is drag
Noise Removal all the way to the left.
| | 01:39 | This way I get a clear picture as to what I am dealing with.
| | 01:42 | Let's go ahead and drag the Matte Density down to the left.
| | 01:45 | Now what the Matte Density is doing,
it's adjusting your pixels.
| | 01:48 | It's making the lighter pixels more
light, and the darker pixels more dark.
| | 01:53 | So let's drag this down to around 0.14, that way we have
got a nice solid Matte to allow Jake to pop through.
| | 02:01 | But you notice the background is still really noisy.
| | 02:04 | So let's go ahead and drag the noise removal back
up to around 0.8 and that'll cut out the background.
| | 02:10 | Now you notice the edge of our Matte is a little jaggy and
now we are going to deal with this is just a quick second.
| | 02:16 | Go out to your Output Type and adjust it
to Processed Foreground and you'll notice,
| | 02:20 | Jake's skin tone really isn't much of a skin tone.
| | 02:24 | The Spill Suppression is set way too high.
| | 02:26 | Basically it's desaturated every
single green value out of his image.
| | 02:30 | So let's go and drag that back
down to the left to around 0.14.
| | 02:35 | Now select your canvas and hit your spacebar.
| | 02:40 | And so you notice we have got a decent key
but the edges are so little jagged and noisy.
| | 02:46 | So let's deal with that.
| | 02:48 | Let's stop playback for a second.
| | 02:50 | And what we are going to do to deal with
the hard edges is blur this entire image.
| | 02:55 | Now before we do that, I want to make
sure I have a copy of this image.
| | 02:59 | So select the Layer, go to Edit and choose Duplicate.
| | 03:03 | We'll turn off the top most Layer
and re-select Green screen.
| | 03:08 | Now let's blur it.
| | 03:09 | Click Add Filter, Blur, Gaussian Blur.
| | 03:13 | And now we have blurred the image,
but it's a little too soft.
| | 03:17 | So let's go ahead and drag this down to around 2 and we'll
turn our copy back on, so we can see what's happened here.
| | 03:26 | Hit your spacebar and you'll notice now
I have a softer but still really noisy.
| | 03:33 | So lets stop playback and now we want
to pinch this Matte down a little bit.
| | 03:39 | So the way we do that, select Matte and choose Matte Magic.
| | 03:44 | Let's drag it right on to top Green Copy here.
| | 03:48 | And let's turn off our Background Layer so
we can see exactly what Matte Magic is doing.
| | 03:53 | If I turn Matte Magic On and Off, you'll notice
it's cutting a fair amount of this image away.
| | 03:58 | And what we want to do is shrink this down and we can
actually leave this top most layer nice and jagged.
| | 04:08 | Because when we turn the Background layer on here, that's
when we introduce our softness back into the image.
| | 04:15 | Now if you hit your spacebar you'll
notice it's still little noisy.
| | 04:18 | So I would like to pinch this Matte
back just a little bit as well.
| | 04:23 | Scrap Matte Magic and apply it to that Layer as well.
| | 04:27 | And I don't want it to shrink nearly as much.
| | 04:31 | So we'll go ahead and drag that back out again,
reintroducing this and feather it just a tiny, tiny bit.
| | 04:40 | So we'll drag that to around 2.2.
| | 04:44 | Now hit your spacebar and you'll notice while
it's a little noisy, it's considerably better.
| | 04:49 | Now if we stop playback here for a
second, you know that there's a problem.
| | 04:53 | Jake's tooth right here actually has keyed out as well.
| | 04:57 | I am going to use a technique that you don't
always have to use, but sometimes it's helpful.
| | 05:03 | And what I am going to do is just mask out this one section.
| | 05:06 | So select the top most layer, go
to Edit and choose Duplicate.
| | 05:10 | And Delete Matte Magic and you'll
notice we get the edges back here.
| | 05:15 | But if you just create a mask just around his
tooth, now we have actually fixed that problem.
| | 05:23 | If I isolate this layer by itself you'll notice,
there it is, I can still see a little bit in there
| | 05:29 | so let me adjust the Primatte RT down just a little bit.
| | 05:35 | Take the Noise Removal back down to 0.1.
| | 05:38 | And now when we hit the spacebar, his
teeth are fixed and we have decent edges.
| | 05:44 | So let's start playback and position Jake.
| | 05:47 | Select your Key footage there and resize it, just click
on one of the corners and drag and make sure you hold
| | 05:56 | down Shift, so you don't distort the
image and we'll just drag that down
| | 06:00 | to around 65% and deselect them, hit the spacebar.
| | 06:05 | And now we have a Key.
| | 06:06 | Hit your spacebar to start playback,
and like I said not quite an exact size.
| | 06:15 | We pulled the decent key out of some pretty rough footage.
| | 06:18 | Now I use this rough footage on purpose to show
you a couple of different techniques you can use.
| | 06:22 | The next time you try and pull
the key with your own footage.
| | 06:25 | If you find yourself pulling a lot of
keys, you may want to look at Apple Shake
| | 06:29 | or After Effects with the Key Light Filter.
| | 06:32 | But for a lot of situations, as you saw Motion
still has plenty of tricks up its sleeve.
| | Collapse this transcript |
|
|
8. Using Masks and ShapesCreating simple shapes| 00:00 | Now there are a couple of different
ways we can create shapes in Motion.
| | 00:03 | You can start with a basic shape or
you can actually draw custom shapes.
| | 00:08 | Let's start with Basic Shapes.
| | 00:11 | Go to the Create section of your toolbar, and
just click on the Rectangle tool, click once.
| | 00:16 | Now that we have that selected,
go ahead and drag out a rectangle.
| | 00:21 | If you hold down Shift, it will make a square.
| | 00:23 | Let's come up and click and hold,
and this time we'll choose Circle.
| | 00:30 | Now obviously if I drag it will make an ellipse, so
I am going to hold down Shift so it makes a circle.
| | 00:35 | And the last basic shape here is a Line.
| | 00:39 | Go ahead and click on that and this time just click and
drag and hold Shift as you drag and now we have a nice line.
| | 00:48 | Grab your Selection tool and select the rectangle.
| | 00:51 | You know it's in your HUD, we have some basic options.
| | 00:54 | We can make it a fill, or give it an
outline or just have it be an outline.
| | 01:00 | And if you are having a hard time seeing your rectangle,
go ahead and use Cmd+/ to turn off your Overlays.
| | 01:08 | Go ahead and adjust up the width of your Outline.
| | 01:10 | I am going to turn my Overlays back
on here, Cmd+/ just so we have them.
| | 01:15 | So there are a couple of different
options in the Rectangle tool.
| | 01:18 | Hit F4 to up your Shape Options.
| | 01:22 | Down here under outline, right now, I have
got it set as a Solid Brush, that's great.
| | 01:26 | We can change the brush color, go ahead and right
click in the color well and change it to Yellow,
| | 01:33 | and we can adjust our Opacity and our widths.
| | 01:37 | And down here we have an interesting thing, this joint.
| | 01:40 | If you click on that and it to square, you know
this, now the corners are actually squared off.
| | 01:45 | Come down here, we have an option for Animation.
| | 01:48 | If you drag this out we can actually animate the Offset.
| | 01:52 | Now there's an issue with this, the
corners are sharp but the tops are rounded,
| | 01:57 | and those are called the Start Cap and the End Cap.
| | 02:01 | So click and change this to Square and you notice now
that's squared off, and change the End Cap to a Square.
| | 02:09 | Now when I actually see a full rectangle,
so I'll just go ahead and drag that out.
| | 02:13 | So that's the basics of the rectangle.
| | 02:15 | Now let's select the Circle.
| | 02:17 | Then we have similar options, it can
make it an Outline, or make it a Fill.
| | 02:21 | But this time I want the Fill to be a Gradient and
let's open up my options for the Gradient here.
| | 02:28 | You'll see this tool repeated throughout Motion.
| | 02:30 | So let's go over some of the basics.
| | 02:32 | On the left hand side here, if I click this little
color chip, it will allow me to change the color.
| | 02:37 | So I can make it Yellow, and if I click
on this one, I could change that as well.
| | 02:42 | I am just going to leave it Blue.
| | 02:45 | If you want to add yet another color, just click
in the line and it will make a new color chip.
| | 02:50 | I don't want to have that.
| | 02:51 | So just drag it off to the right
really quickly and it will disappear.
| | 02:55 | Now up here this is kind of an interesting thing.
| | 02:58 | This is the Opacity value of the
Shape as well as the Gradient.
| | 03:03 | So if I click up here, just anywhere in the line, and
now that I have that Shape selected, look under Opacity,
| | 03:10 | if I drag that all the way down, check
it out, only the top little portion,
| | 03:15 | notice how it's directly related to our Gradient.
| | 03:17 | Only the top portion is actually visible.
| | 03:20 | I want this entire Shape visible,
so go ahead and just drag that off.
| | 03:24 | Now just because I have a fill on here
doesn't mean I can't have an Outline as well.
| | 03:28 | Go ahead and check that, and just
make a nice wide outline on that.
| | 03:34 | The last simple tool is the Line tool.
| | 03:36 | Go ahead and select it.
| | 03:38 | I am going to turn off the Overlays for the time
being, Cmd+/, and I really kind of enjoy the Line tool
| | 03:45 | for the simple fact that I can
change the Start Cap to an Arrow.
| | 03:49 | And that may not seem like a big deal,
but it's really fun when you need
| | 03:53 | to actually animate an Arrow, let's
say, for a map animation.
| | 03:56 | You can go ahead and just check Arrow on the Start
Cap and then go ahead and adjust your point there,
| | 04:02 | and notice how the arrowhead doesn't distort.
| | 04:04 | Let's go and make the arrowhead a little bigger.
| | 04:06 | Under Arrow Length we'll just drag all the
way out here, and make it nice and long,
| | 04:11 | and under Width let's go and drag it out there.
| | 04:13 | Now that I have an arrowhead on here,
I'd like this bottom part to be sharp,
| | 04:17 | so I am going to change my End Cap to a Square.
| | 04:20 | So notice now, if I go to change the Width, the size
of the arrowhead will also change in proportion.
| | 04:27 | So that's the basics of the Line tool.
| | 04:30 | And we have created some simple shapes.
| | 04:32 | Now let's move on and create some custom shapes.
| | 04:36 | Once you hit F5 and turn off this group.
| | 04:40 | I am going to make a new group,
and I want you to lock the old one.
| | 04:44 | So we don't accidentally draw on that Layer.
| | 04:47 | Hit F5 and close that.
| | 04:49 | And we'll start with the Bezier tool.
| | 04:51 | Go ahead and click on that and
the way you draw is just a click,
| | 04:55 | then move your mouse to where you
want the next point, and click,
| | 04:58 | and move your mouse to where you
want the next point and click.
| | 05:00 | Now if you want a smooth edge, when you click your next
point, click and drag and now you'll get the handles.
| | 05:08 | I could click all the way around, let me drag
that out there, drag that out, click and drag,
| | 05:16 | and notice to close it when I get my pen
tool over top of that it will close off
| | 05:21 | that shape and now we have a custom shape.
| | 05:23 | It has the same kind of options for Colors,
or Gradients, and Outlines etcetera.
| | 05:29 | You just use the Bezier handles to create that.
| | 05:33 | Open up F5, we are going to turn off that
Shape Layer, and if you click and hold,
| | 05:38 | the last shape option here is for B-Splines.
| | 05:41 | B-Splines are fun, it makes drawing
smooth shapes very, very easy.
| | 05:45 | Hit F5 and close it, and now if I click on a point and click
on another point, it won't actually start drawing the shape
| | 05:52 | until I get 3 points, and now you
notice, I have this Shape Line.
| | 05:57 | Let me go ahead and click another point, and another
point, and another point and go ahead and close it.
| | 06:03 | And now you notice, I drew a very sharp edged shape
but I have something that looks like a jelly bean.
| | 06:09 | So again, that's a great tool for
creating shapes that need to be smooth.
| | 06:14 | And so those are the basic ways you
can create simple shapes within Motion.
| | Collapse this transcript |
| Adjusting shapes| 00:00 | Now we are going to adjust shapes.
| | 00:02 | As you can see we have a rectangle, circle and an arrow.
| | 00:07 | The arrow was actually generated by the Line tool and I tell
that when I click on it, the bounding box ends right here,
| | 00:14 | and arrowhead is on top and that's indicative
of the Line tool with the arrowhead Cap on it.
| | 00:21 | Go ahead and select the Rectangle.
| | 00:25 | And if I want to change, how this looks,
let's say I want to make it a trapezoid.
| | 00:29 | There are a couple of different ways of doing it.
| | 00:31 | The first one is to click up here, and
choose your Adjust Control Points tool.
| | 00:38 | And if you just click and drag, and click and
drag, there we go, we have easily adjusted that.
| | 00:45 | Just Apple+Z to undo and undo.
| | 00:48 | There's another way to adjust it, if
you hold down the Command key and click
| | 00:52 | and drag on a point, it will bring out your Bezier handles.
| | 00:55 | I am going to go ahead and undo.
| | 00:59 | And there's one last way we can adjust things,
and that's not just with the control points.
| | 01:05 | If you get back to your Selection tool, you can
actually make adjustments with the bounding box.
| | 01:10 | Now obviously you can do basic things
like Scale, that's no problem but notice
| | 01:14 | when we do that, it is distorting the edges.
| | 01:18 | But if you right click on any of the
corners, you get a whole bunch of options.
| | 01:23 | Let me just show you a couple, here's Sheer and that will go
ahead and distort the shape that way, if you Control-click,
| | 01:32 | you could Crop, and with Crop if you just go
ahead and drag it starts cropping in that fashion.
| | 01:39 | Again go ahead and Control-click,
you can choose Edit Points,
| | 01:44 | and notice even with that crop happening,
I still have my control points here.
| | 01:50 | And notice how the crop stays exactly where it
was with the layer as I drag my control points.
| | 01:55 | So we have adjusted the Rectangle,
let's move on to the circle.
| | 01:59 | Since I have my adjust Control Points tool active,
| | 02:03 | I can click on any of the control
points and adjust them accordingly.
| | 02:07 | Now what I would like to do is adjust this Gradient.
| | 02:10 | Go ahead and grab your Selection
tool again and head to the Inspector
| | 02:14 | under your Shape and let's open up the Fill options here.
| | 02:19 | Here we have our gradient.
| | 02:21 | In order to adjust this Gradient, I could adjust the
Start points and End points by just typing them in here
| | 02:26 | or clicking and dragging and that all adjust
but I really don't have a visual reference as to
| | 02:31 | where the Gradient starts and where the Gradient ends.
| | 02:34 | And I would also like to change this to a Radial Gradient.
| | 02:37 | So go ahead and click on the Type
of Gradient and adjust it to Radial.
| | 02:42 | And now let's go ahead and grab one
last tool, the Adjust Item tool.
| | 02:47 | And you notice what happened, when I
grab that and I had my Gradient selected,
| | 02:51 | I have a visual representation of
my Gradient going on right here.
| | 02:56 | So you notice this yellow box, matches this yellow box.
| | 03:00 | This white box for transparency,
matches this box for transparency.
| | 03:05 | So let's go ahead and adjust this.
| | 03:06 | I want the center of my Gradient
to be in the center of the circle.
| | 03:09 | So I am just going to drag that
down, notice how it nicely snaps.
| | 03:14 | You can turn off your snapping,
just hit N, and free transform this.
| | 03:19 | Let me go ahead and move that there.
| | 03:21 | And if you want to actually change your color, you can
do that here visually just right click right in the Well,
| | 03:27 | I could do that again up here, just right click in the Well.
| | 03:32 | If I want to adjust how fast this Gradient is adjusting.
| | 03:36 | Let's go back to our Gradient tool and just click this
little arrow here, and drag it one direction or the other.
| | 03:44 | So that's how you edit Gradients with the Adjust Item tool.
| | 03:47 | The last one I would like to adjust is the Line tool.
| | 03:50 | So I am going to go ahead and grab my
Selection tool, and select my Line.
| | 03:56 | So go ahead and hit F5, I want to show you something.
| | 03:59 | Notice how my Line tool has changed into a
Brush, and by the way so as my rectangle.
| | 04:05 | This happens automatically now in Motion 3.
| | 04:08 | Any time you draw a shape and make it just an Outline
| | 04:12 | without a Fill it will automatically
assume, you want to make it a paint brush.
| | 04:17 | And that brings up all the different paint options.
| | 04:20 | If I click on Brush type here, now
I can change it to an Airbrush.
| | 04:23 | I am not going to do that right now because
I have a whole section dedicated to Paint.
| | 04:27 | I just wanted you to know this when you change things to
an Outline in Motion 3, it automatically changes to paint.
| | 04:33 | And if I want to change my Arrowhead and turn that
off, just go ahead and change your Start Cap back
| | 04:38 | to Square and it will be all set with that one.
| | 04:42 | The last two shapes I would like
to edit are our Custom Shapes.
| | 04:46 | The first one here is the B-Spline.
| | 04:49 | And I just turned Bezier so I could see the B-Spline.
| | 04:53 | I have the same set of adjustments
if I right click on the corner,
| | 04:57 | I can do all the same Sheers, and
Four Corners, and Crops etcetera.
| | 05:02 | But what if you drew a B-Spline and you
really wanted it to be a Bezier shape.
| | 05:08 | And you might be asking why would I want to do that.
| | 05:09 | Well let me just show you, if you click and choose your
Adjust Points tool, now you can see what if I wanted this
| | 05:17 | to be completely filled in all the way to the corners.
| | 05:19 | Well you can actually adjust that,
and that's in your Geometry Settings.
| | 05:24 | Under there we have an option for shape types, so if I click
on B-Spline, now I can go ahead and change it right back
| | 05:29 | to Bezier, and it completely fills out that point.
| | 05:33 | And now again with the Adjust Points I can go ahead and
Cmd-click on any of the points and bring out my handles,
| | 05:40 | and make any adjustments I would like to this shape.
| | 05:44 | And you can do the same thing switching from Bezier
back to your B-Spline and adjust the points accordingly.
| | 05:55 | So that's just a little bit about
how to adjust shapes in Motion 3.
| | Collapse this transcript |
| Creating simple masks| 00:00 | Typically in the process of keying, you
can't always cut everything out of your shot,
| | 00:04 | whether it's a microphone or just a dirty key.
| | 00:07 | In this case our Luma Key work great, except for let's go
ahead and select the Breakdancer here, these as you can see.
| | 00:18 | And if I drag my playhead down here, you can right here
we have a corner that couldn't quite get keyed out.
| | 00:26 | So this is the perfect time to use a Simple Mask.
| | 00:30 | I am just going to Undo, to move
my footage back here in the center,
| | 00:33 | and go up and select the Breakdancer
and select our Mask tool.
| | 00:39 | Now since the problem areas are right here on the edges, I
can just probably draw a circle and get this taken care of.
| | 00:47 | So if you click and hold on your Mask tools,
the second option down is the Circle Mask.
| | 00:52 | And as always you have the Breakdance layer
selected, when you go to draw your mask,
| | 00:56 | it will automatically be applied to that specific layer.
| | 01:00 | So when I let go, now look what happened.
| | 01:02 | The corner is beautiful and the edges are perfect.
| | 01:06 | If we go ahead and click back on the
Breakdancer and drag that over to the sides,
| | 01:11 | you'll notice everything looks wonderful.
| | 01:14 | And that's the basics of adding a Simple Mask.
| | 01:18 | Now just because we have the Mask tools, it doesn't
mean you can't use something else as a Mask.
| | 01:23 | Let me show you, go and select the
Circle Mask, and hit the Minus key,
| | 01:27 | and what I want to do this time is actually draw a shape.
| | 01:31 | So I will click on the Square here, draw that out.
| | 01:36 | And I am just drawing the shape right over this guy.
| | 01:38 | And now if you select your Breakdance layer, go up
under Object and choose add Image Mask, or Shift+Cmd+M.
| | 01:48 | It will add an Image Mask on here.
| | 01:51 | Now what this little thing is, is a droplet,
you will notice if your HUD is up, F7,
| | 01:56 | its asking well what would like as your Mask source.
| | 01:59 | In this case since I drew a rectangle,
I am going to use a Rectangle.
| | 02:02 | Go ahead and just click and drag
and drop that right into the well.
| | 02:05 | I can drag it into my HUD, or I could drag
it in right here, in my Layers Palette.
| | 02:10 | Couldn't let go, if I select my Image Mask,
now it's using the alpha channel created
| | 02:15 | by this Rectangle, to cut out that very same mask.
| | 02:20 | So we have more than one way, of
actually applying Simple Masks in Motion.
| | 02:26 | One could be the Mask tool, the others could
be literally any object in your project.
| | Collapse this transcript |
| Creating a tracking mask| 00:00 | So typically in the process of Keying, you'll have to create
a thing called a Track Mask and basically what this is,
| | 00:06 | is a Mask that follows your subject around
and helps cut out any unwanted elements.
| | 00:10 | So let's go ahead and draw one.
| | 00:12 | Select your Breakdance layer, go up to the Bezier Mask tool.
| | 00:16 | And what we want to do is just
draw a mask around our dancer.
| | 00:20 | And we want to make sure to have plenty of points when we
do this because in the process of drawing a Track Mask,
| | 00:26 | you don't ever want to really have to add
points, sometimes that can cause major problems.
| | 00:31 | And you'll notice, I am drawing way outside the dancer
in different shapes, because in this exercise I want
| | 00:38 | to create just a graphic look and the shape will
bounce around and change as the dancer is dancing.
| | 00:46 | Typically if we are using a Track Mask, you are doing a
process called rotoscoping which is a little more precise
| | 00:52 | where you want to actually have your Track Mask, right
up against the edge of your object, but like I said,
| | 00:58 | all we're trying to do right here is create a graphic style.
| | 01:01 | And I want you to get the concept
of actually drawing a Track Mask.
| | 01:05 | So now with the Mask drawn, turn on your record button,
and let's move our playhead down just a little bit.
| | 01:14 | And just move the Mask.
| | 01:19 | And you should notice, if you move the playhead
back, now our track mask is starting to move.
| | 01:28 | Typically when you are rotoscoping, you have do
this frame by frame and it's very, very tedious.
| | 01:33 | But like I said, all we are doing is just trying
to create a style for this dancer right now.
| | 01:39 | And we only have 2 seconds of this
footage to do this process.
| | 01:43 | And I want to keep the sharp edges on this,
if you ever want to have rounded edges,
| | 01:50 | all you do is hold down Command as
you drag and you'll get your handles.
| | 01:53 | I am going to Apple+Z to undo that.
| | 01:59 | Move your playhead further down.
| | 02:02 | Okay, now it's pretty far outside the Mask.
| | 02:04 | If you want to move the entire
Mask, just move inside and drag.
| | 02:08 | And that will move the entire mask and then as you
move your points, you want to make sure to click right
| | 02:13 | on your anchor points, otherwise
you will move the entire mask.
| | 02:28 | And like I said this is a relatively tedious process.
| | 02:31 | So let's go ahead and move the
playhead back here and hit the spacebar.
| | 02:36 | And you know I had this little pop in my Mask here.
| | 02:40 | So I want to go ahead and fix that.
| | 02:43 | So that one frame, I'll just slide it back.
| | 02:47 | And let's move, and now I am getting this
jagged dancing mask around my outside dancer.
| | 02:56 | When you are finished, make sure to turn
your record button off and for this style,
| | 03:01 | I would actually like to feather my Track Mask,
so go ahead and just drag that out a little bit.
| | 03:07 | And now this is a little bit more along
the lines of what I was looking for.
| | 03:10 | And if you move the playhead back and
forth, you can go ahead and check that out.
| | 03:14 | So feel free to go through out to the rest of the two
seconds and create this graphics style, using a Track Mask.
| | Collapse this transcript |
| Creating a complex mask| 00:00 | So when you apply more than one mask to an object, it then
becomes a complex mask. We are going to use that to cut
| | 00:07 | some interesting shapes into this rectangle to
make a pattern over top of this Sun Burst Gradient.
| | 00:12 | So let's get started. Go and select your Rectangle. Go up to the Mask,
and choose the Rectangle Mask. Go ahead and draw a rectangle out on
| | 00:21 | your canvas,
| | 00:23 | just sort of behind the dancer here.
| | 00:25 | Now let's apply an additional mask.
| | 00:27 | So select your rectangle,
| | 00:29 | go up and choose the Circle Mask tool.
| | 00:31 | Make sure to hold Shift so it stays a circle and
| | 00:35 | let go.
| | 00:35 | And you'll notice
| | 00:37 | if you dragging this around, what this is doing is
| | 00:40 | adding to the rectangle shape. If you pull up your HUD, F7,
| | 00:46 | you'll see we have options for the Mask Blend mode,
and by default it's set to Add. So if I change that,
| | 00:51 | I could change it to Subtract.
| | 00:54 | Let's go through some of the other ones
really quickly. We could do Replace,
| | 00:57 | that just replaces the previous mask, or we could do Intersect,
and as you can see it gives you the intersection between the
| | 01:05 | two masks. So we want to just
choose Subtract for this one,
| | 01:09 | and I'd like to duplicate this mask a couple of time. So
go ahead and hold down Option and drag to duplicate the mask.
| | 01:18 | I'll put one right behind him and you can also duplicate by
selecting your mask, going up under Edit and choosing Duplicate
| | 01:25 | and its right here selected. So if you go ahead and drag and
hold down Shift as you drag, that way it's actually set there.
| | 01:33 | This is a pretty interesting pattern. Let's go ahead and apply little
animation to it. Go ahead and select the Center Circle Mask tool,
| | 01:40 | and go to your Inspector
| | 01:43 | under Properties and
| | 01:45 | open up your position,
| | 01:46 | and right click on X and what we want to do is just have this slide
back and forth, so I'm going to go ahead and choose Oscillate.
| | 01:53 | And
| | 01:54 | click anywhere in your Layers tab to
deselect everything and hit your spacebar.
| | 02:04 | And so now
| | 02:04 | you can see we have created a complex mask.
| | 02:08 | So if you are free to add more shapes to this
rectangle and create your own complex mask.
| | Collapse this transcript |
| Creating image masks| 00:00 | So a lot of motion graphic artists use Image Masks,
and basically all that is taking the alpha channel
| | 00:06 | of one object to cut a hole in the other object.
| | 00:09 | Just let me show you.
| | 00:11 | Open up your Project pane and hit
F5 and let's see what we have got.
| | 00:15 | We have a breakdancer, and Vegas text,
and Vegas footage and a gradient.
| | 00:22 | Let's get started by using the Vegas Text alpha
channel to cut a hole in the Vegas Footage.
| | 00:27 | So select your Text, open up your HUD and resize your text.
| | 00:34 | Bring it up to about 200.
| | 00:37 | And reposition in the middle here.
| | 00:39 | And let's have it scroll from one side to the other.
| | 00:44 | Hit Cmd+Minus to shrink your canvas
and drag your text over to the right.
| | 00:48 | Hold down Shift as you drag to lock it to the X axis.
| | 00:52 | And let's apply Behavior, Basic Motion Throw.
| | 00:56 | And we want to just throw it towards the left, so
just click and drag towards the left and if you hold
| | 01:01 | down Shift it will keep it on its axis, and go and
hit spacebar, I want to see how fast that's moving.
| | 01:07 | I'd like to move just a little faster so I am going
to up my zoom here, and drag this further out,
| | 01:15 | so it pushes it just a little bit
harder and therefore makes it go faster.
| | 01:23 | So now let's go ahead and use the alpha channel
from this text to cut a hole in the Vegas footage.
| | 01:31 | Select your Footage, go up under
object and choose add Image Mask.
| | 01:39 | Now the Image Mask is sitting here waiting for us
to drop the text in, so go ahead and drag the text
| | 01:44 | and drop it right into the image mask, and let go.
| | 01:47 | And there, we have just used the alpha channel
of the Vegas Text to cut a hole in the footage.
| | 01:53 | Go ahead and stop play back for a second.
| | 01:55 | Move your playhead back to the beginning.
| | 01:57 | Turn off your text layer.
| | 01:59 | If you ever want to get rid of an image mask,
go ahead and open your HUD and right here
| | 02:03 | in the Mask Source just click and
drag off to the side really quickly.
| | 02:08 | And you'll notice it disappear.
| | 02:10 | We still have the Image Mask applied to the footage,
so we can add another source, so let's go ahead
| | 02:15 | and use the breakdancer for this Image Mask.
| | 02:18 | Go ahead and drag and drop him right
into the Image Mask and let go.
| | 02:23 | And let's do Shift+Z, so we can see what
it looks like and hit your spacebar.
| | 02:27 | So we have our text and we have our dancer.
| | 02:31 | Let's go ahead and adjust the text
here, bring the opacity down.
| | 02:36 | There we go, click in the canvas, hit your
spacebar and there you have it, adding Image Masks.
| | Collapse this transcript |
|
|
9. Working with GeneratorsApplying and adjusting generators| 00:00 | I like thinking of Generators like a kind of
synthesizer for graphics, as opposed to audio.
| | 00:05 | Just like a synthesizer, a Generator will
create something basically out of nothing.
| | 00:10 | Let's look at a couple.
| | 00:11 | Open your Library tab and come down to Generators.
| | 00:15 | Now the first thing you will notice and you
might find it a little confusing is the fact
| | 00:19 | that the Generators icon is the same
as this one called Image Units here.
| | 00:25 | And the reason this has been created is Apple,
when they came out with operation system 10.4,
| | 00:30 | they wrote a new render engine into the
operating system called Image Units.
| | 00:36 | And the reason that's important
if you use Image Unit Generators,
| | 00:41 | these are still Generators, even
though they are called Image Units.
| | 00:43 | If you use an Image Unit Generator it will be faster
than using a Generator from the Generator's tab.
| | 00:49 | It's just these Generators don't take
advantage of the Core Image technology.
| | 00:54 | So click on the Gradient Generator and you
know this just creates a multicolor Gradient,
| | 00:59 | click apply and let's look at the Options.
| | 01:02 | Hit your Inspector and you'll notice we can
adjust things like the Width or the Height,
| | 01:08 | so rather than having to draw a
shape, we can use a Generator
| | 01:12 | and if you open a Gradient Options
here, you'll notice we have a graph.
| | 01:17 | Now let's look at the way this works.
| | 01:19 | On the left hand side, if you click on this
little Color Well here, you can adjust this color,
| | 01:25 | and that's the starting color of the Gradient.
| | 01:28 | Same thing with Blue over here if you click
on it, you can go ahead and adjust that.
| | 01:32 | If you like to add another color, go ahead and
click in this line and that will add another color.
| | 01:38 | If you don't want to add one, or if you want to
delete one, go ahead and drag that out to the right.
| | 01:43 | Now it's hard to see exactly where on here these colors
are falling and there's a tool to help with that.
| | 01:51 | If you click on your selection and go
down to the bottom here, you can go ahead
| | 01:57 | and adjust things now using the Adjust Item tool.
| | 02:02 | If you go ahead and drag here, you'll notice
I have a direct graphic representation
| | 02:08 | of exactly what's going on with my Gradient over here.
| | 02:11 | So you might be asking, well what's this little white thing.
| | 02:14 | This white well right here, is standing for the Opacity.
| | 02:18 | So let me show you what I am talking about.
| | 02:20 | If you click in here you can add another
one just the same way the Gradient works.
| | 02:24 | But with this selected you notice now I can
adjust the Opacity, so if I turn that down,
| | 02:30 | you notice I have Red fading into absolutely nothing,
and here's the Black color and here it is on this one.
| | 02:37 | And I can adjust visually over here
or I can adjust it in my palette.
| | 02:43 | And you'll see these options throughout this application,
like in particles and when you apply gradients to shapes.
| | 02:49 | So let's go ahead and delete this.
| | 02:52 | Hit F5, open up your Layer tab,
select your gradient and hit Delete.
| | 02:56 | There are some other generators that can
generate all kinds of different effects
| | 03:00 | and that's what we are going to
explore in the rest of this chapter.
| | 03:03 | So if you ever need to create anything from scratch whether
it's basic or advanced, go check out your Generators.
| | Collapse this transcript |
| Generating a background| 00:00 | So the point of this video is to think
about how to use your generators creatively.
| | 00:05 | We are going to create some silk and we will
start with our generators. Go to the Library tab,
| | 00:11 | and head down to Generators, and the one we are going to use
is Cellular. Drag that and drop it right down on your canvas,
| | 00:18 | making sure your snapping's on. Hit N
if you don't see these yellow snapping guides,
| | 00:23 | and with that in your canvas, hit the spacebar.
| | 00:27 | And you'll see it looks sort of like marching
ants around the screen. Now to use this,
| | 00:31 | by all means you can feel free to use
this in your projects, but like I said,
| | 00:34 | this going to be creative use of your Generator, so let's create.
Stop playback for a second and go to your Generators controls,
| | 00:42 | click on the Height, and adjust it down to around 25.
| | 00:48 | And now what we are going to do is, distort this and stretch it back
out. So grab this center handle here and drag it back up and hold down
| | 00:55 | Option as you are dragging it, and you'll see it is starting to look
a little bit more like silk. Go and hit your spacebar and check it out.
| | 01:03 | This is closed, but let's add some color. Stop playback and open
your Gradient, and I want to change the white to a nice bright
| | 01:10 | gold color. So choose kind of a bright gold,
| | 01:14 | and now the only other thing we need to do
is increase the size. So drag your size up,
| | 01:20 | until you get something that looks a
little more flowing, and hit your spacebar.
| | 01:25 | And there you have it, a creative use of generators.
| | Collapse this transcript |
| Generating a transition| 00:00 | Another great way to use generators is to use them to generate a
transition. Hit your spacebar and let's see what's in the project.
| | 00:07 | So as you can see we have two shots
| | 00:09 | with a cut right in the middle,
and I'd like to use a Lens Flare
| | 00:13 | to transition from the right side of the screen to the left
side, and right about when the cut happens is when we'll have
| | 00:19 | the Lens Flare be at its brightest. So hit Cmd+2 and open
your Library. Head to the Generator section and drag and drop
| | 00:28 | Lens Flare right out on to your canvas.
| | 00:31 | Now we need to set some keyframes, so move your
playhead a couple of frames before the jump cut,
| | 00:36 | frame 17,
| | 00:38 | and open up the Generator options, hit F4.
| | 00:42 | So we can move the Lens Flare by animating the
center point. So drag the X value towards the right.
| | 00:48 | I'd like the Lens Flare to be off when it starts. So
we need to keyframe the size as well as intensity. So,
| | 00:55 | add a keyframe,
| | 00:57 | and add a keyframe and just adjust those down.
| | 01:01 | Now let's move our playhead right to the jump cut. So right
here we need to add a keyframe for Size and Intensity.
| | 01:09 | Just go ahead and add your keyframe,
| | 01:13 | and adjust the Size
| | 01:15 | and the Intensity.
| | 01:19 | I know it's on the side of the screen, don't worry. When we add
our next keyframe it will actually be in the center of the screen,
| | 01:27 | looks pretty good.
| | 01:29 | Now let's move our playhead a few frames after the cut.
| | 01:34 | And we need to keyframe our center point,
| | 01:38 | and our Size,
| | 01:40 | and the Intensity.
| | 01:42 | Now that we have those keyframes, go ahead
and drag the center point over to the left,
| | 01:48 | and reset the Size to zero
| | 01:52 | and the Intensity to zero.
| | 01:55 | Rewind your playhead back to the beginning
| | 01:58 | and hit the spacebar.
| | 02:02 | So as you can see, generators are
a great way to generate transitions.
| | Collapse this transcript |
|
|
10. Creating Particle SystemsUnderstanding particles| 00:00 | So before we delve into all the different things you can
do with particles, it's kind of important to understand
| | 00:05 | what exactly a particle is. Well,
| | 00:08 | in Motion 3,
| | 00:09 | anything can be a particle.
| | 00:11 | Let me show you. Go ahead and select your violin
and go up to the top, and click Make Particles.
| | 00:17 | Now I know you may not be seeing anything yet,
go ahead and hit the spacebar on your computer.
| | 00:24 | And there you'll see a violin
replicating numerous, numerous times.
| | 00:30 | Go ahead and stop your playback,
| | 00:32 | and let's look at some of the options
with particle systems. Bring up your HUD.
| | 00:38 | Now open your Layers palette, F5.
| | 00:41 | Basically a particle system is made up
of two things. You have a particle cell,
| | 00:45 | and then you have a particle emitter. For all intents and
purposes, the emitter is just kind of a cannon. It just shoots out
| | 00:52 | particle cells
| | 00:54 | in whatever direction and speed you choose.
| | 00:57 | So the particle cell is literally just the object that
you told Motion to turn in to a particle system with
| | 01:04 | the Make Particles button, in the top of your toolbar.
| | 01:07 | So select your particle emitter,
and let's look at some of the options.
| | 01:12 | As you can see here, we have Birth Rate.
This is how many particles are born every second.
| | 01:19 | And right here we have Life. This is how
long the particles live after they are born.
| | 01:23 | The next option is Particle Scale. As you can see it just scales
all your particles. And the next one is Emission Range, and
| | 01:32 | basically this controls the range as to where your particles
are shooting, and down here, you'll notice the graph is changing.
| | 01:40 | If you click and drag on this graph, it's just like
the Throw behavior- how hard are you throwing something-
| | 01:46 | and it has these extra parameters,
| | 01:48 | which allow you to control how wide the particles are being thrown.
Now there are plenty more other options to particle systems,
| | 01:57 | but I just wanted you to have a quick
understanding of exactly what is a particle.
| | Collapse this transcript |
| Creating basic particle systems| 00:00 | Most people when they think of particles,
they think of things like explosions.
| | 00:04 | Well in Motion_3, you can use
particles to create all kinds of things.
| | 00:08 | For example, this texture underneath this title.
| | 00:11 | If you want to see all the different possibilities
with particle emitters, go to your Library tab
| | 00:17 | and under the Particle Emitters section
check out all the prebuilt particles
| | 00:21 | that are living there, waiting for your use.
| | 00:24 | Now go to the 02_Making_Particles project and
select the bubble in the middle of the screen.
| | 00:30 | Go ahead and hit the spacebar to begin playback and
hit the Make Particles button at the top of the screen.
| | 00:37 | And now we have actually made a particle system.
| | 00:45 | Stop your playback and open up your HUD.
| | 00:48 | Let's go over some of the different options here.
| | 00:50 | This is the Birth Rate; this is how
many particles are born every second.
| | 00:57 | Then we have the Life.
| | 00:58 | If you crank that down, notice they aren't living very long.
| | 01:01 | If you crank to the right, they
get to live a very long time.
| | 01:03 | Scale, obviously just to adjust the scale, and the
Emission Range- this is how wide the particles gets thrown.
| | 01:11 | And if you click all the way bottom of this graph,
you can adjust how hard they are being thrown,
| | 01:17 | and the direction just by clicking and dragging around.
| | 01:20 | Now let's look at all of the options for our
particle emitters, and jump to the Inspector.
| | 01:25 | Make sure you are on the Emitter tab and
let's go through some of these options.
| | 01:30 | The first option is Shape.
| | 01:32 | Right now, these particles are being emitted from a point.
| | 01:36 | So if I wanted these bubbles to rise up from the bottom
of the screen, I would want them to come out of a line.
| | 01:41 | Now since we can't see the line on the screen, go up to
your Adjust Item tool and click and drag on the line,
| | 01:51 | bring it down towards the bottom of the screen.
| | 01:54 | Now in your HUD, let's make sure that these
particles are all coming out in one specific direction.
| | 02:00 | Now since my line is sideways, when I
drag my particle emitter to the left,
| | 02:05 | it's actually coming out of the left side
of the line, that's why it's working.
| | 02:10 | Go ahead and close your HUD, and hit the spacebar.
| | 02:14 | So you can see now we have bubbles rising.
| | 02:16 | Let's look at some of the other options.
| | 02:18 | We are going to stop playback just for a quick second.
| | 02:21 | We have already seen the Emission Angle
and the Emission Range in our HUD;
| | 02:25 | let's look at something like the Render Order.
| | 02:28 | If you change this to Order Last, all that
is doing is making the older bubbles appear
| | 02:34 | on top of the younger bubbles.
| | 02:37 | If you check Interleave--
| | 02:41 | Let's go ahead and stop playback.
| | 02:43 | The Interleave Particles option only works if you
have more then one particle in your particle emitter.
| | 02:49 | Right now since we only have one,
this won't really do anything.
| | 02:52 | We have seen the Birth Rate, but Birth Rate
Random, what this means, at any given time,
| | 02:58 | anywhere between 0 and 35, particles could be born.
| | 03:03 | The Initial Number -- let's drag the Birth
Rate down, and crank up the Initial Number.
| | 03:10 | Move your playhead back to beginning and hit the spacebar.
| | 03:13 | And you'll see 26 particles popped
out of the bottom, and that was it.
| | 03:18 | So the Initial Number is just the
initial burst that comes out.
| | 03:22 | It is kind of how that explosion was
created in the beginning of this video.
| | 03:25 | Go ahead and crank that back down, and let's bring
the Birth Rate back up, and hit your spacebar.
| | 03:33 | The Life, as I showed you in the HUD,
just controls how long the bubbles live.
| | 03:38 | Now Life Randomness works kind of like
Birth Rate Randomness, at any given time,
| | 03:43 | some of the particles may die off,
and some of them will continue living.
| | 03:48 | Speed kind of works the same way, and you'll
see this theme repeated throughout the rest
| | 03:53 | of the particle emitter options.
| | 03:55 | We have the Speed, how fast the particles
are coming out, and the Randomness.
| | 03:59 | Some of them will move fast, some of them will move slow.
| | 04:02 | Let me hit the spacebar so you
can see what I am talking about.
| | 04:05 | So see we have a variable speed or a random speed.
| | 04:09 | We could adjust Angle, Angle Randomness,
Spin, Spin Randomness.
| | 04:13 | You get the idea, this just continues on and on throughout.
| | 04:17 | Now the Color Mode, right now it's the original color.
| | 04:20 | If we picked color Over Life, if you
notice when I open up my Gradient here,
| | 04:27 | the younger particles will be red,
and the older particles will be blue.
| | 04:31 | Now this is kind of hard to see, because
I have the particles going so fast.
| | 04:34 | So just go ahead and crank that down a little
bit, and we will crank down the Speed Randomness,
| | 04:40 | And crank it down just a little bit more.
| | 04:42 | So you see as the particles get
older, they start turning blue.
| | 04:45 | It works from left to right.
| | 04:47 | Color Repetition, this is just how many times it
goes through the Gradient before they die off.
| | 04:54 | We have Scale, and Scale Randomness, so we could have
some bubbles little, and some bubbles really big.
| | 05:00 | And all the way at the bottom here,
we have the Particle Source.
| | 05:02 | So if you design something that worked
really, really well with the Aqua Ball,
| | 05:07 | and wanted to change that, you could go ahead and do that.
| | 05:10 | I am going do that actually in the next video, but
for now this was the basics of making particles.
| | Collapse this transcript |
| Making complex particles| 00:00 | So complex particle systems are just like
normal particle systems; they just have more.
| | 00:06 | So if you open your Project pane,
F5, let's create a music explosion.
| | 00:12 | So select the clef and click Make Particles.
| | 00:16 | Go ahead and hit your spacebar.
| | 00:18 | And you will see we have a whole bunch of
clefs flying out from the center point here.
| | 00:25 | I want to add a whole bunch of other particle
cells do the emitter, and the way you do that,
| | 00:30 | is to just drag whatever is in your composition right
up to your emitter, and you will get the plus button,
| | 00:34 | when you let go, you'll notice now that
has been added to the particle emitter.
| | 00:40 | What you need to do is un-check your original source,
otherwise that will sit there and be stagnant.
| | 00:45 | So let's add the rest of them.
| | 00:47 | The Violin, un-check that, and
the Guitar, and turn that off.
| | 00:53 | So it is important to remember that these objects
are directly related to your particles cells.
| | 00:59 | So if I deleted one of these, it would
actually delete out of the particle emitter.
| | 01:04 | I do not want to do that right now, so I
am just going to leave them where they are.
| | 01:07 | But go ahead and select the Clef, and open your Inspector,
| | 01:12 | and we will make some adjustments
to this individual particles cell.
| | 01:16 | Crank the Birth Rate down, I don't need that many clefs
bursting out, and let's shorten the Life a little bit
| | 01:23 | down to around 2, and go ahead and crank up
the Spin, and adjust the Spin Randomness.
| | 01:31 | So they don't quite spin at the exact same rate.
| | 01:35 | Now I don't want to colorize these,
I will just leave them white.
| | 01:38 | Let's move on to the Banjo.
| | 01:40 | We can adjust its Birth Rate down just a little
bit, and adjust its speed up, just a tiny amount,
| | 01:49 | and go ahead and adjust its Angle and its Angle
Randomness, and we will have them spin as well.
| | 01:59 | And just see they don't all spin at the same
time, adjust the Spin Randomness as well.
| | 02:04 | Let's go to Violin, and we are just going to go
ahead and keep making adjustments to each one
| | 02:09 | of these, so they are all slightly different.
| | 02:11 | So each cell has its own character, and at last the Guitar.
| | 02:22 | Now go ahead and select your emitter and hit the spacebar.
| | 02:27 | And you see there is a slight problem here.
| | 02:30 | Each particle cell is directly on top of the other one.
| | 02:33 | Now to fix that problem, all you do is,
check the Interleave Particles box, and now,
| | 02:38 | they are all nice and neatly mixed together.
| | 02:41 | Now if you notice, there is one other problem here.
| | 02:43 | I will stop playback.
| | 02:45 | This area here, is staying relatively the
same, and the reason is the Render Order.
| | 02:51 | We want to switch this to Oldest Last,
and now when you hit your spacebar,
| | 02:55 | they are all busting out of that individual section here.
| | 02:59 | We will go ahead and stop playback,
and look at some of the other options.
| | 03:03 | We can change the Birth Rate.
| | 03:05 | Now the nice thing about this, you notice
it's in percentages; what this is doing,
| | 03:09 | is actually changing the Birth Rate
for every single particle cell.
| | 03:12 | So if I crank this down quite a bit, you
will notice all of them cranked down.
| | 03:19 | Same with the Life and the Scale.
| | 03:22 | You'll notice there is no option for the
Scale Randomness, because it would not know
| | 03:27 | which different particle cell to adjust to make random.
| | 03:30 | So if you want to adjust your Scale Randomness, make
sure you are actually in your particle cell options
| | 03:36 | and here you will notice your Scale Randomness, so
you can kind of adjust the scale on different ones.
| | 03:41 | Let's go back up to the emitter here, and you'll notice if
you want to change any of your particles, you actually can.
| | 03:50 | So what I want to do, is go to my Particle
Library here, and let's say my friend
| | 03:55 | who plays the keyboard felt a little left out; we will
go to the content here and scroll down to the keyboard.
| | 04:02 | Let's drag and drop that in to our composition.
| | 04:06 | It's a little big, so let's scale it down.
| | 04:11 | I am holding Shift, so it scales around the
center point, and drag that back to the center.
| | 04:16 | Re-select your particle emitter, go to the
Inspector, and you will see the options here.
| | 04:22 | So I don't want a Banjo, we will
change that with a keyboard.
| | 04:25 | Just go ahead and drag and drop it right
into the drop here, and when you let it go;
| | 04:29 | now we have keyboards where there were Banjos.
| | 04:32 | I am going to un-check the master, so that one does not
stay stagnant in the middle of this particle emitter.
| | 04:39 | Last but not the least, this is also where you can change
the shape, so if I didn't want a busting out of a point,
| | 04:45 | I could have it busting out of a line or out of a rectangle
| | 04:50 | or just about any other options here,
including your own custom geometry.
| | 04:55 | But I want to leave that as a Line, and let's go ahead
and adjust its options by choosing the Adjust Item tool.
| | 05:03 | Drag this over to the side here, drag the other one over to
the side, and rewind your playhead back to the beginning.
| | 05:10 | Click anywhere on the canvas to
de-select and hit your spacebar.
| | 05:17 | This is relatively close.
| | 05:19 | The only issue I see, is in the fact that
these are actually popping on and off,
| | 05:23 | so go ahead and select your particle cell, and down here
you will notice under each particle cell you have an option
| | 05:31 | for Opacity Over Life, and the way you
adjust, this is to just click on the Line.
| | 05:36 | And so it works from left to right.
| | 05:38 | If you select the original one and drag it down, now
when you start, it will be completely transparent,
| | 05:43 | and when it gets to the top, it will be completely opaque.
| | 05:46 | Let's add a Fade Out as well.
| | 05:48 | Go ahead and fade that back up.
| | 05:50 | So for the clef, these will fade in and fade out.
| | 05:53 | Go ahead and hit your spacebar,
and see what I am talking about.
| | 05:59 | So you can feel free to go back through all the different
particle cells and adjust the Fade In, Fade out.
| | 06:07 | But for now, that is the basics of
creating a complex particle system.
| | Collapse this transcript |
| Modifying particle behaviors| 00:00 | Now you have a lot of control with your particles in Motion,
| | 00:03 | but you really haven't seen anything
until you start adding behaviors.
| | 00:07 | If you don't already have it open, we are
in the 04_Particle_Behaviors projects.
| | 00:11 | Hit F5 and open up your Project pane.
| | 00:13 | Let's look at what we have.
| | 00:16 | First we have a Ring group with
this Ring layer that's turned off.
| | 00:19 | We are not going to use this for now,
so go ahead and turn that back off.
| | 00:22 | Select the emitter and hit your spacebar.
| | 00:26 | As you can see here, we have a particle system that's just
a bunch of bubbles floating towards the top of the screen.
| | 00:32 | Stop the playback for a second, go up to Add
Behavior, Particles and choose, Scale Over Life.
| | 00:40 | Hit F7 to bring up your HUD, and
let's look at some of the options.
| | 00:45 | We have a Scale At Birth, which is 0, I am
going to leave it at that, and Scale At Death.
| | 00:50 | Let's go ahead and crank that up to around to 220.
| | 00:53 | Now hit your spacebar again and see what has happened.
| | 00:57 | If you notice, we have actually created a nice
sense of depth with this particle animation.
| | 01:01 | Let's stop playback just for one second.
| | 01:04 | Go up to Add Behavior, and Particles, and you
see there is Scale Over Life and Spin Over Life,
| | 01:11 | and you would think these are the only
behaviors you could apply to particles.
| | 01:15 | But guess what?
| | 01:16 | It's not. There are a whole host of
behaviors that work fine with particles.
| | 01:20 | For right now, let's go to Simulations,
and choose Attracted To.
| | 01:25 | And you notice in your HUD, it's asking what
object should we attract the particles to?
| | 01:32 | So click on the big Ring, and drag and drop
it right down into the well, and you notice,
| | 01:37 | I didn't have to turn that on, it will still
function just fine without its visibility on.
| | 01:42 | Go ahead and let it go.
| | 01:43 | For right now, turn the layer back
on, and hit your spacebar.
| | 01:49 | Re-select the Attracted To behavior,
and let's adjust some of the options.
| | 01:53 | Drag the Strength up, you can see
it's already having an affect.
| | 01:59 | Go ahead and drag the Influence all the
way across, and let's drag the Drag.
| | 02:05 | And you'll notice now, all the particles are
neatly popping to the center of the circle.
| | 02:11 | We will stop playback just for one quick second.
| | 02:14 | We can take this one step further.
| | 02:17 | Let's go ahead and animate the big_ring
and see if the particles follow along.
| | 02:21 | Select the big Ring, go to your properties
and right click on the X position.
| | 02:26 | If you don't see this, open up your Position options.
| | 02:29 | Go ahead and right click, and choose Oscillate.
| | 02:32 | Now hit your spacebar and watch the playback.
| | 02:38 | If you notice the particles are following right
along with the object, it's kind of interesting,
| | 02:43 | if you actually turn the layer off,
they are still following that object.
| | 02:50 | Now let's go ahead and stop this just for one more
second, and re-select the Attracted To behavior.
| | 02:58 | Now as I said, a lot of these behaviors work with particles,
so I am just going to delete Attracted To for right now,
| | 03:04 | and let's apply another behavior that works with particles.
| | 03:08 | Go to Add Behavior, and this is a very
basic one, I have used quite a lot.
| | 03:12 | Go down and choose Throw.
| | 03:15 | Now the option I am looking for isn't in the HUD.
| | 03:18 | Go ahead and hit i to open up your Inspector
for Behaviors, and you'll notice under Throw,
| | 03:25 | we have this option for Affect
Subobjects, and it's already checked.
| | 03:29 | That's a great thing, because Affect Objects
is what you want to make sure to check,
| | 03:33 | when you are dealing with animating particles.
| | 03:37 | Let's go ahead and drag the emitter over in
a specific direction and hit your spacebar.
| | 03:42 | And you notice now, I am throwing all these particles
independently over in the direction of my Throw.
| | 03:51 | So as you can see with particle behaviors, you can
really start to take control of your particles.
| | Collapse this transcript |
|
|
11. Using ReplicatorsReplicating objects| 00:00 | If you like creating patterns Replicator
is the tool for you.
| | 00:04 | So we are going to create a Las Vegas
background using the Replicator.
| | 00:09 | Go to your Library, hit Cmd+2 and head down to the
Shapes section and we want to get started with a diamond.
| | 00:16 | Just drag that diamond right out here into the center
of your canvas and the reason I chose the diamond,
| | 00:23 | I would like to replicate a pattern of red
diamonds like you would see on a playing card.
| | 00:28 | Grab the side handle here and hold down Option as you drag.
| | 00:34 | That will allow you to distort around the center point, now
it's getting very close but we need to change the color.
| | 00:40 | So bring up your HUD, hit F7, right click on
the Fill layer and choose a nice dark red.
| | 00:49 | Go ahead and close your HUD for now and all
we need to do to replicate an object now
| | 00:56 | that its selected is hit Replicate and
you will see we get a nice pattern.
| | 01:01 | If you click and drag on any of the corners you can go
ahead and resize this pattern and of course if you go
| | 01:08 | to your Inspector, we have a full
set of options under Replicator.
| | 01:13 | So let's go through some of these, you can replicate
a Circle or just a Line, a Burst pattern or Spiral.
| | 01:25 | For this one we want to use Rectangle.
| | 01:29 | Under Arrangement we could choose whether we want just the
Outline or the Tile Fill or better we have a Random Fill.
| | 01:39 | So for this lets just choose Tile Fill, so this slider
is just the number of Columns and the number of Rows.
| | 01:48 | I would like these to be a little smaller, so
go down to your Scale and just drag that down.
| | 01:54 | Tile Offset is a fun thing to animate
if you just drag it one way
| | 01:58 | or the other it will go ahead and offset the different rows.
| | 02:02 | Let's increase the number of rows, so now we have a nice
tiled pattern, I am going to click on the right side
| | 02:09 | of our Replicator and just drag it over to the
side, just a little bit more so it covers more
| | 02:15 | of the screen and make it just a little bigger here.
| | 02:17 | I want you to paste specific tension to the Origin.
| | 02:21 | Right now, if you click on the pull
down the Origin is set to Center,
| | 02:26 | let's change this to Upper Left and
now it's asking for a Build Style.
| | 02:33 | This is if we were going to animate it
but I am not going to use that right now.
| | 02:37 | Go down to Angle and just drag and I want you
to see something, if you notice this triangle
| | 02:42 | up in the upper left is straight while it gets closer
to the end they have now angled to 125 degrees.
| | 02:50 | So if we change that Origin back to the Center
you can see the center is relatively straight
| | 02:55 | and as it gets closer to the out sides, it's 125 degrees.
| | 02:59 | The reason I said relatively straight
if you crank the Angle End
| | 03:03 | up to a certain point eventually they it
will start affecting the Origin as well.
| | 03:08 | Angle Randomness does just that, it increases the
randomness of the angle for all of the objects.
| | 03:16 | This next object is Additive Blend and that would work
in areas where the pattern is actually overlapping;
| | 03:22 | since we have one little area it's only working there.
| | 03:26 | Color mode works just like the particles where you could
either Colorize things and change the color completely
| | 03:34 | or you can have it pick over a specific pattern and
notice its starting at the origin and moving its way out
| | 03:41 | or we could have it colorize by picking a range and its
just picking randomly a range of colors from this gradient;
| | 03:49 | if you open this up you will recognize
the Gradient tool with the opacity options
| | 03:53 | like we have in particles and gradients etcetera.
| | 03:57 | So go ahead and close that for now and the last thing
down here I want you to make note of is the Object Source.
| | 04:05 | So for example, lets say we have this pattern set and I
don't like the Angle Randomness so we will set this back
| | 04:10 | to 0 and I don't like the Angle
End either we will set back to 0.
| | 04:14 | So lets say we have this pattern set and your client
wants to change from diamonds to let's say clubs.
| | 04:23 | Hit F5 and open up your Layers tab, select your Group and
jump to your File Browser, navigate to the Media folder,
| | 04:31 | in here you will find Graphics and we have Club.
| | 04:36 | Just drag and drop that right into your comp, go
back to your Inspector and re-select your Replicator,
| | 04:43 | go to your Replicator tab and now in one swoop drag the
Club and drop it right down to the Object Source and let go.
| | 04:51 | Make sure to turn off your reference source
and now we have just switched the Replicator.
| | 04:57 | Go ahead and close your Layers tab, hit F5 and
that's the basics of replicating objects in Motion.
| | Collapse this transcript |
| Animating a replicator| 00:00 | Animating Replicators in Motion is very straight forward,
hit F5 to open your Layers pane and select your Replicator.
| | 00:08 | Go and hit F5 again to close that and choose Add
Behavior, Replicator and Sequence Replicator.
| | 00:17 | Open your Inspector and on the Behaviors you
should see the Sequence Replicator behavior,
| | 00:22 | the first thing it's doing is asking what
Perimeter would we like to Add to animate.
| | 00:27 | So click on the Add menu and choose Rotation.
| | 00:30 | What we are going to do is actually rotate these diamonds
180 degrees all the way through the replicated patterns.
| | 00:38 | So go ahead and click and choose 180 and the first option
is Sequence To, I would like you to sequence to 180 degrees.
| | 00:48 | Under the Unit Size for now we will choose Object, go
ahead and hit the spacebar and see what this is doing.
| | 00:58 | Now it's starting from the center point for a
reason, stop your playback, move your playhead back
| | 01:04 | to the beginning and look at the Replicator.
| | 01:07 | Right now the Origin is set to the Center, if
you choose Upper Left and hit your spacebar;
| | 01:15 | now you notice its starting in the upper left and
spreading out through the rest of the Replicator.
| | 01:23 | Stop your playback, let me change this
back to Center; go back to your Behavior,
| | 01:29 | lets look at some of these other options, click on the
Object pull down and this time choose All, hit your spacebar
| | 01:37 | and as you can see its replicating
all of the diamonds in the Replicator.
| | 01:44 | Stop playback change it to Custom, if you
notice under Custom you can change according
| | 01:50 | to percentage how much of the Replicator will rotate.
| | 01:54 | Hit your spacebar and right now it's just 10%;
let's slide the end slider up to 50 or 51.
| | 02:09 | Stop your playback; I want to change
that back to the Object size.
| | 02:14 | The Spread is how many objects will be rotating
at any given time so right now the Spread is 1
| | 02:22 | so before the next object rotates
the previous object has to finish.
| | 02:27 | So if you hit your spacebar you can see 1, 2, 3, 4, 5.
| | 02:30 | It's just rotating through each individual object.
| | 02:34 | So if you increase the Spread you will notice now more of
the objects are changing, just increase it to something
| | 02:42 | like 8 that way you can see it a little bit more clearly.
| | 02:48 | Stop your playback and change the Spread back
to 1 and adjust the Traversal; what this is,
| | 02:56 | is how the object is completing its task.
| | 03:00 | Since we are doing Rotation right now, it's completing the
rotation at one constant speed; if we choose Ease In/Out,
| | 03:06 | hit your spacebar and you can see what I am talking about,
it's just easing into the rotation and then back out again.
| | 03:21 | Stop your playback and if you choose Accelerate, hit
your playback again and you can see it accelerates
| | 03:28 | through the rotation slowly getting faster.
| | 03:35 | Stop your playback one last time and go back up here.
| | 03:39 | We will choose Constant Speed and adjust the Loops.
| | 03:43 | This is how many loops it's going to complete
before the end of the Sequence Replicator behavior.
| | 03:48 | Now since my Behavior is set to go through
the entire length of the composition,
| | 03:52 | this will be how many times it completes
a loop before the end of the composition.
| | 03:56 | So go ahead and crank that up to 5 and hit your spacebar
and you will notice the sequence is happening a lot faster
| | 04:04 | because it has to complete this 5 times before the end.
| | 04:08 | If we change our End Condition to Wrap, it will complete
the task and then start again right from the beginning;
| | 04:17 | if you change this to Ping Pong, once it gets to the end
it will bounce back and head back the opposite direction.
| | 04:23 | Go ahead and stop your playback and that's
the basics of animating Replicators.
| | Collapse this transcript |
| Replicating a video file| 00:00 | Replicating video in Motion is pretty
much just like replicating anything else.
| | 00:04 | Lets look at what we have, right now I have
the shot of this dancer and what I did --
| | 00:09 | we will stop playback for a second is pre-render this.
| | 00:12 | If you know you are going to tiling your
video and you are going to keep the size
| | 00:15 | of the tile small it makes good sense
to go ahead and pre-render the video.
| | 00:19 | So if we check out our Media tab, Cmd+5 and select the video
layer, go to your Inspector you will notice that the size
| | 00:28 | of this video is only 320 x 240 that's because I
know I am not going to make the tiles very big.
| | 00:33 | Usually you don't have to compress your videos this much
| | 00:36 | but again since I knew exactly what I was
using this for, this is the perfect size.
| | 00:42 | Let's jump to the Layers tab, Cmd+4 and
select your video layer, choose Replicate,
| | 00:48 | hit Shift Z to resize your canvas
and drag your Replicator out.
| | 00:53 | Lets hit the spacebar see what we have got, well
obviously it's a little big so I am going to stop playback
| | 01:01 | and go down to my Scale and scale this down
to 70% and I don't need this many Columns
| | 01:10 | and Rows so we will just change
this to 4 and change the Rows to 4.
| | 01:14 | Go ahead and hit your spacebar and see what's happening, if
you want to turn off your overlays hit Command /. Lets stop
| | 01:31 | and look at some of the video options, if you go down to
the bottom of the Replicator you will see there is check box
| | 01:37 | for a Random Start Frame, if I check that each
video box is going to start at a random frame.
| | 01:42 | Go ahead and hit your spacebar and check this out.
| | 01:48 | Stop that for now and un-check Random Start Frame; I could
also adjust the Source Start Frame so if I didn't want it
| | 01:55 | to start a frame 1 I could have
it started lets say frame 26.
| | 01:59 | Move your playhead back to beginning and
you notice now it's starting your frame 26.
| | 02:03 | Go ahead and hit your spacebar, you will
see now it's just started right there.
| | 02:09 | We will stop that, change the start frame
back to 1 and I want you to make note --
| | 02:14 | a fact that the Origin actually has an
affect on your video layers as well.
| | 02:19 | If we change the Origin to the Left side and then we change
the Source Frame Offset, scale this out so you can see it.
| | 02:27 | If we change the Source Frame Offset look what happens,
if I drag this out since the source is starting
| | 02:33 | on the left side notice each individual
column is offset by 25 frames;
| | 02:39 | hit the spacebar and let's see what that looks like.
| | 02:43 | If I change my Origin back to the Center you will
notice now its working its way out from the center,
| | 02:50 | I like what's happening on the left so go
ahead and switch that back to the Left;
| | 02:54 | pause playback just for one more second and just because
we have video doesn't mean we cant Colorize this.
| | 03:00 | So go to your Color Mode and change it to Over Pattern;
now you will notice I am getting this neat red edge on here
| | 03:06 | and that's because I compressed the video so much
it introduced noise back into the video on the edge
| | 03:12 | of the key I used to originally create this footage.
| | 03:15 | I like the effect so I left it in there.
| | 03:18 | You can change your Color Gradient to anything that you
like and go ahead and hit the spacebar and check it out
| | 03:26 | and those are the basics of replicating video in Motion.
| | Collapse this transcript |
| Creating a lower third replicator preset| 00:00 | You can create a lot of complex graphics with
Replicators and Apple.s been nice enough to include a ton
| | 00:05 | of prebuilt Replicators in your Library, so
go ahead and hit Cmd+2 to open your Library.
| | 00:11 | And if you don't already have it open,
we are in 04 Replicator Presets Project.
| | 00:17 | So in your Library choose Replicators and you will notice
we have a whole bunch of options. We have Backgrounds,
| | 00:25 | Lower Thirds, Mattes, Miscellaneous. Here I
will just click on one of the Miscellaneous one
| | 00:31 | so you can see some of the random things.
| | 00:34 | And Transitional. These are
prebuilds that you can use as transitions.
| | 00:39 | Right now we are going to use a Lower Third. Choose
Business 02. I think it works well with the Vegas theme.
| | 00:47 | Click Apply and drag this over to
the lower left corner of the screen.
| | 00:53 | Now when you are setting type for television it's really
important to keep your Safe Zones off, so open your View
| | 01:00 | and go to Safe Zones. And let's hit
the spacebar and see what we have got.
| | 01:05 | And as you can see this Replicator starts
on one area and it pops up to another.
| | 01:11 | Now that it's in its final resting place let's
drag this down towards the bottom of the screen.
| | 01:16 | Now with Safe Zones the way it works,
any text needs to be inside the inner box;
| | 01:22 | any graphics should be inside the outer box unless you are
comfortable with the possibility that it gets cropped off.
| | 01:29 | Because on different televisions it may crop into
different levels. This is just a general guide.
| | 01:34 | It's called Action Safe. The inside is called Title Safe.
| | 01:38 | So let's set some type. Go ahead and grab your
Type tool and click and type anything you like,
| | 01:45 | I'm just going to call Vegas Lower
3RD and hit Escape to set your type.
| | 01:52 | Reload your playhead back to the
beginning and hit your spacebar.
| | 01:57 | We need to have the type start a little bit later.
Move your playhead until the end of the animation
| | 02:04 | and with your type selected, hit I to trim your type.
| | 02:09 | Now if you move your playhead back to the start of your
project and hit the spacebar, the text will pop on. Close...
| | 02:15 | but I would like to actually have a nice
smooth animation from my text as well.
| | 02:19 | Let's go check out our behaviors. Click on Behaviors.
Under Text Sequence I want this to fade in from the left.
| | 02:27 | Open the Text-Fade box and sure enough, there is Fade In
From Left. Just drag and drop that right out onto your text
| | 02:36 | and rewind your playhead to the
beginning and hit the spacebar.
| | 02:41 | All right, now this is pretty close but what I would
| | 02:44 | like to do is add just a little bit more
flavor and customize this Lower Third.
| | 02:49 | So select your Replicator and open the Inspector.
| | 02:54 | In the bottom down here you will see the Object
Source is a Rectangle with this gradient on it.
| | 03:01 | Let's import a custom graphic. Hit F5 to open up your Layers
tab and go to your File Browser. In the Media folder,
| | 03:09 | under Graphics you should find a Club. Just drag and drop
that right out into your project. Select your Replicator,
| | 03:16 | hit F4 to open up your Replicator
options and now in one action click
| | 03:22 | and drag the Club right down into
the Object Source and let go.
| | 03:28 | Now you have clubs instead of the square with the gradient.
| | 03:31 | We should change the color, so go the Color Mode and choose
Over Pattern and while the red to the blue is kind of loud,
| | 03:40 | I think it's a little much. So let's go ahead and
click on the pull down and choose Desert Dusk.
| | 03:46 | Lets add a slight Drop Shadow to our text. So
select your text, go the Style, choose Drop Shadow.
| | 03:54 | I want a slightly softer shadow so I am just going to drag
the Blur out a little bit and I want it a little closer
| | 03:59 | to my text so change the Distance to
3 and hit F5 to close your Layers tab
| | 04:05 | and click anywhere off of the canvas to deselect.
| | 04:10 | Rewind your playhead back to the beginning.
We'll turn Safe Zones off and hit your spacebar.
| | 04:20 | Now we have Lower Third but we
still have our Object Source up.
| | 04:24 | So go ahead and select the Object Source,
open your Layers tab and turn it off.
| | 04:29 | You want to make sure not to delete this because
the Replicator is using this as a reference.
| | 04:34 | So go ahead and close that layer, hit F5 to open
a backup, rewind your playhead and check it out.
| | 04:44 | There is our custom Lower Third brought
to you by the presets in the Replicator.
| | Collapse this transcript |
|
|
12. Understanding PaintPainting in Motion| 00:00 | One of the exciting new features in Motion is Paint, and you
can use Paint to create a wide variety of motion graphics.
| | 00:07 | From things like these flowing light strokes, all the way
to something a little more graphic, like this growing vine.
| | 00:18 | So let's get started.
| | 00:20 | If you don't already have it open, we are in the 01
Paint project, and to use Paint, hit P on your keyboard
| | 00:27 | or come to Create, and select the Paint Brush tool.
| | 00:30 | Open your HUD, F7, and let's look at the options.
| | 00:34 | We can change the brush color, for this demonstration
right now, I am going to leave it at white.
| | 00:40 | We can adjust the width, just by dragging, and you
will notice you get an update just behind your cursor.
| | 00:47 | Since we are on the Basic Solid, we don't
have any pen pressure or pen speed options.
| | 00:52 | But it does have full support for a Wacom tablet.
| | 00:55 | With Write on checked, when you draw your Paint
stroke, it will record your paint stroke in real-time.
| | 01:01 | I generally leave Smoothing always checked,
because it smooth out your paint strokes.
| | 01:07 | Down here there are ton of presets, but for
right now, let's stick with the Basic Solid.
| | 01:13 | Close your HUD for the time being and just draw
a Paint Stroke, and pause right in the middle.
| | 01:19 | Then restart.
| | 01:21 | Let's open the Inspector, and make
sure we are on the shape tab.
| | 01:26 | Now select your timeline and hit your spacebar.
| | 01:35 | And you will notice since I have the Write on behavior
checked, the Paint stroke was recorded in real-time.
| | 01:41 | We go and pause the playback here for a second,
so we can look at that specific behavior.
| | 01:45 | If you click on the Behaviors tab, you will see we
have a shape outline, and it's set to draw right now.
| | 01:51 | If I pull that down to erase and rewind my playhead to
the beginning, the strokes starts and then it will erase.
| | 01:58 | I start playback, so I could show you draw and erase.
| | 02:03 | It's pretty straightforward; it draws it
on, and then it goes ahead and erases it.
| | 02:08 | Let's rewind it back, change it back to Draw,
hit your spacebar, so we can see the stroke,
| | 02:15 | and here we can adjust things, such as the length of the
stroke, it will actually just draw on that short segment,
| | 02:23 | or the stroke offset, which is
where the stroke actually starts.
| | 02:27 | It's playing forwards in the direction we recorded it.
| | 02:31 | You can always change your mind, and said it to
reverse, review playhead back to the beginning,
| | 02:35 | and hit your spacebar just to check it out.
| | 02:38 | Now that stroke we drew wasn't very smooth, so click on
Speed and adjust it to constant, rewind your playhead
| | 02:45 | and hit the spacebar, and you will see now
it's playing back at one constant speed.
| | 02:51 | Stop playback for a second, and
change the direction back to forward.
| | 02:56 | You'll see variety of options, let's check ease in.
| | 02:59 | Rewind your playhead to the beginning, and hit your
playhead, and you will notice it, eased into the stroke.
| | 03:07 | If you chose ease out, it will
slowly decelerate towards the end,
| | 03:16 | and I could go through all these
options, but we have quite a bit to cover.
| | 03:20 | So let's go to our Shape options, and in here you'll
notice, the paint brush was recorded as a solid.
| | 03:28 | We could change this to Airbrush or actually an image.
| | 03:31 | For this demonstration I am going to use an Airbrush,
now the way the Airbrush works, it's kind of hard to see.
| | 03:37 | But if you look at the Airbrush really
closely, you will notice that it's made
| | 03:41 | up of a bunch of little things called paint dabs.
| | 03:44 | The way I illustrated those is
by dragging the Spacing slider,
| | 03:47 | and what this does is adjust the spacing
between each one of the paint dabs.
| | 03:53 | Obviously we can adjust the entire stroke's opacity,
but it's more fun to mess with the brush profile.
| | 04:01 | Go ahead and bring your spacing back up
to around 80%, and the brush profile works
| | 04:07 | in a similar fashion to the gradient tools.
| | 04:09 | Right now this is the opacity of the brush profile, so if
you just click in the line, and select the opacity, well,
| | 04:17 | you can adjust the opacity, and
you will notice the way this works.
| | 04:20 | The left side is the center of the paint dab,
and the right side is the very outside edge.
| | 04:27 | So as we adjust this center point, you will notice we
will make the center either brighter or a little smaller.
| | 04:33 | So let's go ahead and drag that out just
a little bit, so you see the profile,
| | 04:37 | is the profile of the individual
paint dab, not the entire stroke.
| | 04:42 | The entire stroke is made up of a bunch of paint dabs.
| | 04:45 | Let's close the brush profile options for
now, and adjust the spacing back down.
| | 04:53 | Now since we use the write on behavior, this paint stroke
was already animated, if I rewind my playhead and show you,
| | 05:00 | it's setup right there and we saw the behavior.
| | 05:03 | But if you didn't have a behavior
set when you drew the paint stroke,
| | 05:06 | you can animate it using the first
and the last point offsets.
| | 05:10 | Just go ahead and keyframe either one of the offset
points, and you will able to animate your stroke.
| | 05:16 | Let's look at some of the stroke options.
| | 05:19 | Right now under the Stroke Column mode
we are using the color of the brush.
| | 05:23 | Let's choose color over stroke, and now you
notice this we have our gradient options.
| | 05:29 | If we open the disclosure triangle, you will notice here is
our gradient, and at the top, again we have opacity options.
| | 05:36 | But this is the opacity over the entire stroke.
| | 05:38 | So if you click in the opacity section,
we could make the stroke start to fade up.
| | 05:43 | Go ahead and click on the left chip here and drag
your opacity down, and we'll add a fade out as well.
| | 05:49 | So click here to add another opacity option, which
is already at a 100, and click and drag to the right,
| | 05:55 | to add one at the very end, and
drag your opacity all the way down.
| | 05:59 | Now you know we have a nice fade in and a fade
out, the location just adjusts the location
| | 06:09 | of the individual chip that you have selected.
| | 06:11 | So let me drag that one more time, the location just
adjusts the location of the chip that you have selected.
| | 06:17 | Repetitions is this gradient and opacity
information repeats throughout the stroke.
| | 06:24 | So you'll notice, since I have opacity information, it's
actually created one, two, three, four separate strokes.
| | 06:32 | Let's bring that back down, you can adjust the spacing
of your dabs over the stroke using this graph tool.
| | 06:40 | If you just click and drag on the line here, you will notice
now there is more space in the center, versus the ends.
| | 06:47 | Go ahead and undo that, because the option we want to mess
with is, Width Over Stroke, go ahead and open that up,
| | 06:55 | and you can grab your sketch tool,
and click on the first one
| | 07:00 | to set the first point, and click
up here to set another point.
| | 07:04 | And you notice now, at the beginning it's rather
small, and if you actually click and drag,
| | 07:11 | you can draw your own custom points here.
| | 07:15 | So you notice, we have small to large, to small
to large, go ahead and close Width Over Stroke.
| | 07:24 | Brush scale to just adjust the
overall scale, brush scale random,
| | 07:29 | obviously makes all the different scale values random.
| | 07:33 | So you can make some pretty organic shapes, drag that
up to 200, rewind your playhead to the beginning,
| | 07:38 | and hit your spacebar, and just
look at what that looks like.
| | 07:43 | If we click over to the Advanced tab, you will notice there
is support for Wacom tablet, if I actually had a Wacom pen,
| | 07:51 | the harder I would push, the more it would adjust the
width, but I can have that changed to opacity or spacing
| | 07:57 | or the angle of the stroke or even the jitter.
| | 07:59 | Set your paint dabs more or less
depending upon your pressure.
| | 08:04 | Now there are more options that we will cover in the
next movie, to creating a paint stroke in Motion.
| | Collapse this transcript |
| Sequencing paint stroke behavior| 00:00 | The Sequence Paint Behavior can do an awful
lot to add life to your paint strokes.
| | 00:05 | If you don't already have it opened, we
are on the 02_Sequence Paint Project.
| | 00:09 | Now select your paint stroke and
hit F4 to open up your options.
| | 00:13 | Change the brush type to air brush, because the Sequence
Paint Behavior only works on air brush and image brushes,
| | 00:21 | because they are actually made up of multiple objects.
| | 00:23 | The solid brush obviously being one solid, wouldn't work
with the sequence, because there is nothing to sequence.
| | 00:30 | So change it to airbrush, and go up to Add
Behavior, Shape and choose Sequence Paint.
| | 00:37 | Now it's asking us what perimeters we would like to add?
| | 00:42 | Let's add color, we want this color
to sequence through the paint stroke.
| | 00:49 | Go ahead and change your color to something red, just
right click in the drop layer and change it to red.
| | 00:55 | Now the image size of the individual paint dab, go ahead
and hit your spacebar and let's see what that looks like.
| | 01:01 | I am going to stop playback and change it so we have more
loops get completed before the end of the paint stroke
| | 01:11 | and I would like to actually wrap back around.
| | 01:13 | So once that color is gone to the end of the stroke, it
will wrap back up to the start of the stroke and start over.
| | 01:18 | Now hit your playhead and watch what's happening,
so as you can see the colors now stroking
| | 01:28 | through the paint stroke, this is great for the airbrush.
| | 01:30 | Let's go ahead and pause play back,
and change up paint brush to image.
| | 01:36 | Hit F5 to open your Layers tab, and open the disclosure
triangle for the violin, reselect your paint stroke and drag
| | 01:44 | and drop the violin into the brush source, and let go.
| | 01:49 | Now you should see teeny tiny violins here, so we
just need to make their width a little bit larger,
| | 01:58 | and we can bring the spacing closer together.
| | 02:02 | So now we have a bunch of violins altogether in
this stroke, so you go back to your behaviors tab,
| | 02:08 | and this time let's add a rotation, and you notice,
| | 02:12 | when you add the rotation it is going
to keep the same sequence options.
| | 02:16 | Go ahead and hit the spacebar and drag your rotation
around to, around 180 degrees, and you hit Shift+Z,
| | 02:26 | so your canvas resizes to fit, and you will notice,
| | 02:31 | now the violin is actually rotation 180
degrees, and it's wrapping back around.
| | 02:37 | That's why you see now it's finishing its rotation.
| | 02:44 | So let's adjust the Spread, bring
the Spread down to around 34,
| | 02:51 | and now you will notice it's completely
rotating 180 degrees, and then bouncing back.
| | 02:59 | Stop playback just for a quick second, let's say you
want to change how the paint stroke is on the page,
| | 03:05 | well we need to actually adjust the shape of
the paint stroke under the geometry section,
| | 03:10 | and you will notice the shape type is Bezier.
| | 03:12 | So if we click and hold and grab our adjust
control points tool, you will notice,
| | 03:17 | you can actually see the control points that
were created by painting the brush stroke.
| | 03:26 | And the same command you'd use
for any Bezier handle supply here.
| | 03:30 | So if you hold down command and drag,
you will get your Bezier handles,
| | 03:34 | and you can make them very long,
and you can adjust accordingly.
| | 03:37 | So click back in your Layers tab, hit the spacebar,
and now you have the basics of sequence paint,
| | 03:45 | and if you don't quite like how it's
laid out, you know a little bit about how
| | 03:49 | to change the shape of the original paint stroke.
| | Collapse this transcript |
| Applying paint dynamics | 00:00 | With paint dynamics in Motion 3 you can use Paint
to create some animations that look an awful lot like
| | 00:05 | particle systems.
| | 00:07 | If you don't already have it open,
we're in the 03_Paint Dynamics Project.
| | 00:11 | Hit your spacebar and look at the paint stroke.
| | 00:14 | Stop playback, select your paint stroke
| | 00:17 | and hit F4 to open up its options. Under
the Advanced tab you'll find Dynamics.
| | 00:23 | Check the box, and you'll see the stroke is burst into a
bunch of individual paint dabs. That's because paint dynamics
| | 00:29 | function an awful lot like a particle mirror.
| | 00:32 | So drag the Speed down to zero
| | 00:35 | and hit your spacebar,
| | 00:37 | and you'll notice nothing is happening.
| | 00:39 | If I slowly drag Speed to the right
| | 00:42 | you'll notice all of a sudden,
| | 00:44 | this is looking like an animated particle system.
| | 00:48 | So we can continue to adjust individual options in here such
as the Emission Angle and Emission Range, but I'd just like
| | 00:54 | to adjust the Life.
| | 00:56 | So stop playback for a second, and drag the Life down towards
the left, and now this will look a lot more like a typical
| | 01:04 | sparkle trail that would follow a wand or something like
that. Go ahead and hit your spacebar and let's check that out.
| | 01:17 | And so now you have the basics of Paint Dynamics in Motion, it
really gives you a lot of options to create advanced particle
| | 01:23 | systems right within the Paint tool.
| | Collapse this transcript |
| Painting from shapes| 00:00 | Drawing shapes in Motion has just gotten a lot more interesting.
| | 00:03 | If it's not already opened, open the 04_Paint
Shapes project and hit F5 to open your Layers tab.
| | 00:09 | You'll notice we have a rectangle and a background.
| | 00:13 | And right next to the rectangle, you'll see the Paint icon.
That's because in Motion 3 anytime you create an object
| | 00:19 | with a stroke and no fill,
| | 00:21 | Motion will automatically change that into a Paint Brush.
| | 00:25 | That's great because I'd like this box to draw on, and
as it's drawing, have it burst into a bunch of particles.
| | 00:30 | First let's animate the box on.
| | 00:32 | Go to Add Behavior,
| | 00:34 | Shape
| | 00:35 | and Write On.
| | 00:39 | Move your playhead to 3 seconds and hit O to trim the behavior.
That way the box will write all the way on by three seconds.
| | 00:47 | Move your playhead back to the beginning and hit your spacebar.
| | 00:52 | So as you can see, we are almost there.
| | 00:54 | Go ahead and stop playback, rewind your playhead,
| | 00:58 | select your Paint Brush and look in its option, hit F4.
| | 01:03 | Under the Advanced tab,
| | 01:05 | we have an option for Dynamics, and if you open the triangle,
you'll notice this has all the same options as a particle emitter.
| | 01:12 | Now go ahead and hit your spacebar,
| | 01:15 | so as you can see drawing shapes in Motion
really opens up a whole host of new options.
| | Collapse this transcript |
|
|
13. Working in 3DUsing 3D space| 00:00 | Now as much as it pains me to say this, adding 3D to Motion
really does give this application a whole new perspective.
| | 00:07 | So if you don't already have it
open, run the 01_3DSpace_Project.
| | 00:11 | Hit F5 and open your Layers tab.
| | 00:13 | You will notice, we have some text and a Rectangle.
| | 00:16 | Now to change anything to 3D, all you do
is, click this icon on the Group layer,
| | 00:22 | and now you will notice the icon
has changed to three planes.
| | 00:25 | Let's go ahead and select the Rectangle
and turn it into a floor.
| | 00:29 | Grab your Adjust 3D Transform tool and
you will notice we have some controls.
| | 00:35 | The first ones are these arrows that move objects
in 3D space, either on its X, Y or Z axis.
| | 00:43 | I will just undo that.
| | 00:46 | And what we would like to do, is rotate this is in X.
So if you notice these circles now actually inhabit,
| | 00:54 | Y rotation and X rotation and Z rotation.
| | 00:57 | So let's rotate this in X, down to about 90 degrees,
| | 01:01 | and now we will grab our Z position
arrow, and drag that to the bottom.
| | 01:07 | So now we have just transformed something in 3D space.
| | 01:11 | Now all this is well and good, but there are some other
tools that actually really help give you some perspective
| | 01:17 | and different views while you are
manipulating your objects in 3D space.
| | 01:22 | So we go to view menu, you will notice there are a whole
bunch of options here that are grade out called 3D Overlays.
| | 01:28 | Now with these Overlays, you can easily move around
adjust your views in 3D space pretty quickly,
| | 01:35 | and the way you get these to work, is by adding
a camera to the scene, so click New Camera.
| | 01:41 | Now go to your View, pull down, and you
will notice we have the 3D views tools.
| | 01:46 | If I un-check that, you will notice these items
that were just here a second ago have disappeared.
| | 01:51 | I will get to these in a second.
| | 01:53 | Go ahead and choose Compass.
| | 01:56 | What the Compass does, it habits the lower
left corner of your canvas and this allows you
| | 02:00 | to quickly change between views in your scene.
| | 02:03 | So if I click on the Top one, here you
notice now I've switched to a top view,
| | 02:07 | or if I click on the Right one, I'll switch to a right view.
| | 02:10 | I can also change these views by
this pull down in the upper left.
| | 02:14 | I will go ahead and change that back to active camera.
| | 02:17 | Now these views over here will actually adjust
the camera, if your camera layer is selected.
| | 02:23 | So we go ahead and click and rotate
in 3D space, so that's rotation tool.
| | 02:29 | This will allow you to slide left,
right and up and down in your 3D scene,
| | 02:33 | and this one will actually slide back and forth in Z space.
| | 02:39 | Now when I work in 3D, I like to
have all of these view options set.
| | 02:43 | So let's hit Insert View, and 3D Grid and Scene Icons.
| | 02:51 | Now all these things combined can really help you keep
your balance while you are navigating around 3D space.
| | 02:56 | There is one other thing to check
out, and those are the View Layouts.
| | 02:59 | Let's go ahead and choose Horizontal Split View.
| | 03:03 | This is going to give us two separate views.
| | 03:05 | You notice, I can see my Active Camera up here, and
a view from the right down in this lower window.
| | 03:11 | And you notice this will allow me to
select which view I am manipulating.
| | 03:14 | Now you notice, if I click the Rotation tool here,
I am just changing my orientation in 3D space.
| | 03:21 | But you notice my Active Camera has not changed at all.
| | 03:24 | This is just allowing me to move around in 3D space.
| | 03:27 | This is important because when you render a project,
you are going to render the active camera view.
| | 03:32 | So if you just need to move around,
so you can more easily see something.
| | 03:36 | This is a great way of achieving that, just go to your split
view and rotate around outside of the Active Camera view.
| | 03:45 | And you will notice, if you select an object, let's
say, my 3D Space text right here, I can still go ahead
| | 03:51 | and manipulate that specific object,
and rotate around the scene.
| | 03:57 | The reason I bring that up, if you open
your HUD here with that object selected,
| | 04:02 | I can also rotate that object using
the HUD with these drop wells.
| | 04:07 | So you notice with the drop wells, I have some options.
| | 04:10 | If you just click and drag, I can move in Z space, or I
can move left, right, up and down or any variants there of,
| | 04:19 | if you just kind of drag in a circle or move in a circle.
| | 04:22 | This one moves left and right and back and forth in Z space,
| | 04:26 | and then the Scale will actually
adjust the scale of the object.
| | 04:29 | So the HUD will change if you have different
things selected, just like it does in 2D.
| | 04:34 | So if I select the camera here, you notice,
now I am actually going to rotate my camera.
| | 04:39 | Now we will get to more of these camera
options as we go through the next movie.
| | 04:45 | But for now we have covered the basics of
navigating around and selecting things in 3D Space.
| | Collapse this transcript |
| Working with cameras | 00:00 | Now in this video we are going to
cover a little bit about cameras.
| | 00:04 | So feel free to click along and
follow through with what I am doing.
| | 00:07 | Just understand, I am not trying to achieve a specific
effect here as much as I am trying to teach how to move
| | 00:12 | around and manipulate options in your cameras.
| | 00:16 | So, if you do not already have it
open, run the 02_Cameras_Project.
| | 00:20 | Hit F5 and open your Layers tab and you will
notice, I have a Camera and three separate layers.
| | 00:27 | If your HUD is not open already hit F7 and open up your HUD.
| | 00:31 | I want to have a little bit better view of this.
| | 00:34 | So go to your View options and pull
down the Split Horizontal view.
| | 00:39 | Make sure the Top view says Active
Camera and bottom view says Perspective.
| | 00:44 | Now I am just going to manipulate this camera a little bit
| | 00:46 | so make sure your Camera is selected
and select the Perspective layer.
| | 00:50 | Now you will notice the controls for this camera
are actually on its focal plane or its frame.
| | 00:56 | Motion calls that a Camera Type
or the Framing Type of Camera.
| | 01:00 | If I click on the Camera Type and choose Viewpoint,
you notice, now the controls are on the Viewpoint.
| | 01:06 | So if I rotate this in X, you notice very quickly
I am adjusting the view, whereas if I had it set
| | 01:13 | up as a Framing Camera and rotate in X,
I am keeping the center point the same;
| | 01:18 | I am just adjusting the angle of the camera.
| | 01:21 | So make sure to rotate your camera up on its X axis a
little bit on its Y. And I want you to pay attention
| | 01:29 | to where these controls are actually pointing.
| | 01:32 | Right now, you notice Z is pointing directly at the camera.
| | 01:35 | That is because it is set to Adjust Around its
Local Axis, so it is pointing to the local camera.
| | 01:41 | If I clicked on that, and said, World Axis,
| | 01:44 | now you will notice the Z has snapped
right along the Z axis in the World.
| | 01:49 | So if I clicked and dragged all that, you will
notice now the camera is moving on a Z plane,
| | 01:55 | but it is not adjusting the exact
angle of that specific scene.
| | 01:59 | If you go to View Axis, you will notice these
controls now point directly at your view.
| | 02:05 | So now it is actually adjusting things
based on the view that you have selected.
| | 02:12 | Go back to your Local Axis and
let us look at these drop wells.
| | 02:16 | Now in the HUD, I have covered this before in
the previous movie, but just a kind of recap.
| | 02:21 | If you click and drag in this drop well, it
will move the camera back and forth in Z space.
| | 02:28 | This drop well will move you left or right or up and down,
or if you just drag in circles notice it moves in circles.
| | 02:35 | It is a very organic way of moving your camera around.
| | 02:39 | This next one will move you in Z space or left and right.
| | 02:45 | You can also rotate or adjust the scale and yes it is
actually scaling the whole camera and its field of view.
| | 02:53 | If you end up with a scene like this where the active camera
is kind of lay off center, if you select the Active Camera
| | 02:59 | and just double click right here, it will
automatically reset that camera view.
| | 03:04 | Now re-select your camera and I want to cover
one other way you can move around your camera.
| | 03:10 | Let us use the Walk Camera tool.
| | 03:12 | With the Walk Camera tool selected,
you can click and drag in your scene
| | 03:17 | and you notice it is very quickly
and easily manipulating that camera.
| | 03:21 | Now that is not really how it is
designed to work, let me undo that.
| | 03:25 | If I use my arrow keys, now I can walk the camera.
| | 03:28 | I am using my Up arrow to move forward
and my Down arrow to move backwards.
| | 03:33 | Or if I had my Left and Right arrows, it
moves me left and right throughout my scene.
| | 03:38 | So that is the Walk Camera tool.
| | 03:40 | This is a great tool if you are actually going through
the functions of key framing your camera animations
| | 03:45 | and that kind of leads me to my next movie.
| | 03:48 | We are going to go over some camera behaviors
that make animation that much easier.
| | Collapse this transcript |
| Using camera behaviors| 00:00 | You can keyframe your cameras in motion,
but to be honest, I rarely if ever do that.
| | 00:05 | Motion behaviors make generic camera moves easy.
| | 00:08 | In this scene we want to just accentuate
the 3D positioning of these elements
| | 00:11 | by sweeping around the scene and slowly moving in.
| | 00:14 | If you do not already have it open,
run the 03_Camera_Behaviors_Project.
| | 00:18 | Hit F5 to open your Layers tab and select your camera.
| | 00:22 | I want to sweep around the scene, so
choose Add Behavior, Camera and Sweep.
| | 00:28 | Go ahead and hit the spacebar and now you will
notice we have a nice level on the Y axis.
| | 00:34 | I am going to stop playback.
| | 00:36 | I could change this to roll around Z or tilt around X,
but I would like to leave it at Y. So now that we have
| | 00:42 | that first sweep done, let us go ahead and add the move in.
| | 00:46 | So I go to Add Behavior, Camera and choose Dolly.
| | 00:50 | Now Dolly will move the camera forward or
backwards in whatever direction it is pointing.
| | 00:55 | Let us adjust the speed of that to around, let us say, 678.
| | 01:02 | Now hit the spacebar and see what happens.
| | 01:05 | So there you have in about two minutes,
we have done a pretty complex camera move
| | 01:11 | where it is actually sweeping around
the scene and moving in.
| | 01:15 | I am going to stop playback just for one second
and adjust my View layouts to the Split Screen,
| | 01:20 | so you can further see exactly what I am talking about.
| | 01:23 | If I scroll my playhead around here, you will notice
the camera is actually moving in a rather complex move.
| | 01:31 | Now since I took about two minutes, I want to
show you some of the other camera behaviors.
| | 01:35 | Let us turn off Dolly and Sweep.
| | 01:38 | Select the camera, I just want to put it at a slight angle,
go ahead and rotate the camera around on its Y. Let us go
| | 01:48 | to Add Behavior, Camera and choose Zoom In/Out.
| | 01:54 | Now a lot of people would assume this would have a similar
effect to the Dolly, but if we go ahead and adjust this,
| | 02:01 | you will notice, now when I hit the
spacebar, it is actually just zooming,
| | 02:05 | just like you would zoom on your telephoto lens.
| | 02:08 | So there is a difference between Dolly and Zoom In/Out.
| | 02:12 | I am going to stop playback just for a quick
second and we'll add one last behavior.
| | 02:15 | Let me turn off Zoom In/Out, and we will go back
to our Camera Behavior and choose Zoom Layer.
| | 02:21 | Now I like this because it allows me to specify
exactly what layer I want to zoom in to.
| | 02:25 | So I would like this to zoom in to the Motion_3 text layer.
| | 02:29 | Go ahead and drag and drop it right
into the object drop well.
| | 02:32 | Now one thing to be aware of with this behavior,
there is a transition where the camera will drift back
| | 02:37 | and then once it reaches its transition
point, then it will actually start to zoom.
| | 02:42 | So I typically always drag this back to the beginning
because I wanted to start zooming right at the beginning.
| | 02:48 | So now select your Active Camera view and with your
Zoom Layer behavior selected, choose a zoom amount,
| | 02:56 | we will set that around 39, and hit your spacebar.
| | 03:00 | You will notice now, the camera is
actually doing a zoom in on the scene.
| | 03:05 | If you want to see that a little better,
click your Perspective view and hit Play
| | 03:09 | and you will the notice the camera is actually
moving, and with that behavior selected, you will see,
| | 03:15 | it is keeping the same frame, but it is zooming in
and that is actually creating a distortion effect.
| | 03:21 | So I do not use this effect too often, but
just say, you know it is there, it is there.
| | 03:28 | So to recap, when you are trying to make things
look really sleek with your camera moves,
| | 03:32 | Camera Behaviors can be a very fast option.
| | 03:35 | Always make sure to pay attention whether
you are actually doing a Zoom or a Dolly.
| | Collapse this transcript |
| Lighting a scene| 00:00 | Lights can do a lot to add depth and
more perspective to your 3D scene.
| | 00:04 | I often use lighting to set a mood for my graphics.
| | 00:07 | In this video, we are going to cover a lot of the different
kinds of lights and their options available in Motion.
| | 00:13 | If you don't already have it open,
we are in the 04_Lights project.
| | 00:17 | Hit F5 to open up your Layers tab
and one of the first things I noticed
| | 00:21 | in Motion 3 was the fact Add a Light was not an
option up here on my toolbar, so let's change that.
| | 00:27 | Make sure your canvas is selected, go to View,
Customize toolbar and here is the icon for New Light.
| | 00:34 | So let's just drag that up next
to the New Camera and click Done.
| | 00:40 | Let's add a new light and you will notice immediately,
it drastically changes the look of this project.
| | 00:47 | Now let's go to over View Layout
options and choose Split Horizontal
| | 00:53 | and you will notice here is the little icon for our light.
| | 00:56 | If you are not seeing that, go to your
View options and choose 3D Scene Icons.
| | 01:03 | Make sure that that is checked.
| | 01:05 | Now this type of light is a Point Light.
| | 01:08 | If your HUD is not up, hit F7 and let's look
at some of the options for the Point Light.
| | 01:14 | You can adjust the Color, so if I wanted to change the
scene to something little darker, I could make it this kind
| | 01:21 | of yellow color and you can adjust the Intensity.
| | 01:24 | Now with this Intensity up, I can adjust the Falloff Start.
| | 01:30 | This adjusts how wide the light is before
the light actually starts to fall off.
| | 01:35 | And the next option here is the actual Falloff itself.
| | 01:39 | So if I make the Falloff Start kind of large,
you notice it brightens the scene up here,
| | 01:43 | but then if I adjust the Falloff, you'll notice now I
have got a much more high contrast lighting option here.
| | 01:51 | That is the basics of a Point Light.
| | 01:54 | Let's go ahead and choose Ambient Light.
| | 01:56 | Basically, with an Ambient Light, all you can do is
adjust the color and the intensity and you'd notice
| | 02:02 | that it adjusts everything evenly throughout the scene.
| | 02:05 | So let's go to Light Type and adjust that to Directional.
| | 02:10 | Directional Light is kind of interesting.
| | 02:12 | If you notice, it's represented by this circular icon here.
| | 02:17 | Let me make sure my light is selected and we move it back
here in Z space, so you can see it a little bit better.
| | 02:23 | And you notice, I don't have any options for the
cone of the light; it's thoroughly just shinning
| | 02:28 | in one specific direction as though this is a big one plane
and it is just shinning light in that specific direction.
| | 02:34 | So I could adjust the rotation of that light
just by clicking and dragging its rotation
| | 02:40 | and you notice there is no Circular
Falloff or Edge or anything
| | 02:44 | like that again because this is a Directional Light.
| | 02:47 | If want to control things like the
Falloff and that Cone Angle and that sort
| | 02:51 | of thing, you want to choose a Spot Light.
| | 02:54 | So let's change that to Spot Light and you will notice
here with the Spot Light selected, I have a small cone.
| | 03:00 | So let's adjust the Cone Angle.
| | 03:03 | If I adjust it here, I can make it wider or more narrow
| | 03:07 | and we could adjust the Falloff Start
just like last time or the Intensity.
| | 03:12 | Crank that intensity way up.
| | 03:15 | Now it is not adjusting anything in the
scene, because I have it pointed way
| | 03:19 | up to the sky and frankly, it is a little far away.
| | 03:21 | So let's go ahead and move that closer to
our scene here and I will position it down.
| | 03:28 | And you will notice, I have a couple of
different options within a Spot Light dealing
| | 03:32 | with the actual Cone Angle itself as well as Soft
Edges, so I can make a really soft spot light.
| | 03:41 | Now one of the really neat things about Light is
the fact that everything is totally keyframe-able.
| | 03:46 | So for example, if I wanted this to be
really moody and kind of have a sort
| | 03:50 | of film flicker to it, I could animate the intensity.
| | 03:54 | So let's go ahead and do that.
| | 03:55 | In the Inspector, go to the Intensity
and right click and choose Wriggle.
| | 04:02 | I want this to wriggle at a Frequency of about 24
and I only want it to wriggle just a little bit,
| | 04:10 | so we will just set that around 15 and now go
ahead and select your canvas and hit the spacebar
| | 04:17 | and you will notice, I have this flickering light.
| | 04:20 | And if I adjust the Amount of Wriggle or the Frequency
or its Noisiness, I can drastically change how distinct
| | 04:28 | and different this lighting effect can become.
| | 04:32 | So let me stop playback just for a second.
| | 04:35 | Typically, when I light a scene, I try and use two or
three different lights usually made up of a Spot Light,
| | 04:42 | a Point Light and some Ambient Light to
actually create a slightly more realistic scene.
| | 04:47 | But with this movie, as you can see, we have covered
a lot of the basics of all of the different lights.
| | 04:52 | So, have fun lighting your next scene.
| | Collapse this transcript |
| Creating 3D text| 00:00 | Animating text in 3D in Motion is very much just like animating
text in 2D in Motion. If it is not already open, we are in the
| | 00:07 | 13_05_text project.
| | 00:10 | Now, hit F5 and open your Layers pane
and select the Motion 3 text.
| | 00:17 | First way to change text into 3D is to check your Library
and go to Behaviors. Under Text Sequence, there is a
| | 00:26 | whole option for 3D Moves. If you open that up here and click
through, you'll get your preview up here in the top preview window.
| | 00:35 | So let's choose Behind Camera 3D, just drag and drop it right
onto Text layer. Go and hit your spacebar and let's see what that
| | 00:43 | looks like. Now it is kind of hard to see that that's moving
| | 00:47 | in 3D space, so let's go to our View Layout
options and choose Split Horizontal.
| | 00:52 | And now scrub the playhead back over and you'll
notice now the text is moving in 3D space.
| | 00:58 | So that's one way of animating text in 3D. Let's go ahead and
just delete that behavior and let me show you the other way.
| | 01:07 | If you just go to Add Behavior, Text Animation, Sequence Text,
it does not look like there are any options for 3D. But if you go
| | 01:18 | to the Inspector and under the Add Behavior, if you choose
Format, Position, you'll notice I have Position options for Z
| | 01:28 | right down here. So if I go ahead and just scrub that up to
something around 72 and move my playhead back to the beginning and
| | 01:37 | hit my spacebar, you'll notice
now that text is moving in 3D space.
| | 01:43 | And that's it. Animating text in 3D is pretty much just like animating
text in 2D. The only difference is now you have a whole new dimension.
| | Collapse this transcript |
| Creating 3D replicators| 00:00 | Using the Replicator in 3D is a lot like using
the Replicator in 2D; just now we have Z depth.
| | 00:06 | So if you don't already have it open,
we are in the 06_3D_Relicate project.
| | 00:10 | Hit F5 to open your Layers tab and hit F4
to open up the options for the Replicator.
| | 00:16 | So make sure the Replicator is selected
and now we need to change this into 3D.
| | 00:21 | So there are a couple of different checks we need to follow.
| | 00:24 | First thing we need to make sure the 3D check is checked.
| | 00:28 | The next thing is to make sure the group, the
Replicator is living on, is set up for 3D.
| | 00:33 | And lastly, we need to choose a 3D shape.
| | 00:37 | So you'll notice with 3D checked, now
we have an option for Box or a Sphere.
| | 00:41 | So let's choose Box.
| | 00:43 | Now that actually is a 3D replication, but
there is one more thing I actually have to do.
| | 00:49 | If you open up your Size options, now we have an option
for Depth and since it's set to 0, this has not depth.
| | 00:55 | So let's go ahead and drag that out to 530 and now you
see the replication has happened in terms of Z space.
| | 01:04 | So to further illustrate this point, let's
change the Color Mode to Over Pattern.
| | 01:09 | That's kind of hard to see that it's actually changing the
colors over the pattern since Origin is set to the Center.
| | 01:16 | So let's change the Origin to the Front.
| | 01:18 | This way I will change the color from
the front all the way to the back.
| | 01:22 | I don't like Gradient so let us
change that to Atlantic Blue.
| | 01:26 | So now you can see, it starts with light blue
and then gets dark blue as it moves in Z space.
| | 01:33 | If you grab your 3D Transform tool, you can now rotate this
object in 3D space and all of the Z depth data remains.
| | 01:43 | There is one another neat option
and that is the Face Camera option.
| | 01:46 | If you check that, no matter where I rotate this replicator,
all of those objects will continue to face the camera.
| | 01:55 | This is actually a pretty powerful feature.
| | 01:58 | When you change the shape from Box to Sphere, you
can actually create kind of a ferrous wheel effect
| | 02:04 | with the Replicator by changing it to an Outline
and then just animating its one specific X rotation.
| | 02:14 | So that is the basics of adjusting a Replicator in 3D.
| | 02:18 | You have noticed, we have two new shapes; a Box and a
Sphere and just a couple of checks and you are on your way.
| | Collapse this transcript |
| Creating 3D particles| 00:00 | 3D Particles is one of the most exciting new features for
me personally, because I always love adding different senses
| | 00:07 | of depth to things, and 3D particles have always been
something that, well, I guess it has been a slow process.
| | 00:14 | Typically, in most other motion graphic applications,
when you are dealing with particles in 3D,
| | 00:19 | you have to either deal at lower resolutions, or you have
to do RAM Previews, or you have to keyframe a bunch of stuff
| | 00:26 | and then sort of Preview what it looks like,
and then go back and adjust and Preview,
| | 00:30 | and it's this whole long, drawn out thing.
| | 00:32 | Well again, in Motion since it's real time.
| | 00:35 | I can actually preview my 3D particles
as they are being adjusted.
| | 00:40 | So this is a huge, huge thing for
me, personally, and honestly,
| | 00:44 | I think it's a pretty huge thing for Motion as well.
| | 00:47 | If you don't have it open, we are
in the 07_3DParticles Project.
| | 00:52 | Now, hit F5 to open up your Layers tab and
just turn off the Blue Layer for right now,
| | 00:57 | because I want to show you how we can change
any of the Particles Presets into 3D particles.
| | 01:02 | Go ahead to your Library and go to particle
emitters, and under Pyro let's just choose Explosion.
| | 01:12 | Go ahead and drag and drop that right
out onto your Canvas, and you notice,
| | 01:19 | when we hit the spacebar, we have a nice explosion.
| | 01:22 | Let's go ahead and set the Play Range to end around 02.11.
| | 01:26 | Cmd+Option+O.
| | 01:30 | If I play this back and just pause it right in the
center of the explosion and add a camera to the scene,
| | 01:37 | its going to ask me, do I want to
switch it to 3D, and the answer is yes.
| | 01:41 | Now, a couple of different thing will happen.
| | 01:43 | First off, it has added a camera to the scene,
but if you select your particle emitter,
| | 01:47 | and hit F4 to open up its options, you
notice it still isn't truly in 3D space,
| | 01:55 | even though I have my 3D Transform tool selected.
| | 01:59 | So let's go ahead and select the Camera.
| | 02:01 | Hit F7 to open the HUD, and just rotate around a little bit.
| | 02:04 | You will notice this particle system is nice and flat.
| | 02:08 | Go ahead and choose Blue, and you
will notice it too is nice and flat.
| | 02:16 | Let's go ahead and Make Particles.
| | 02:19 | Again, if I click on the Camera
and Rotate around, it's still flat.
| | 02:23 | So let's select the emitter and choose 3D.
| | 02:27 | Now it automatically had Face Camera checked.
| | 02:30 | If that's off, you notice the Particles
no longer face the camera.
| | 02:36 | I like leaving that checked for the most part; I am going
to stop playback here, so go ahead and leave that checked.
| | 02:42 | Let's go ahead and adjust some things like the Scale.
| | 02:45 | I want it to randomly scale these objects, and
I don't need it to have such a high Birth Rate,
| | 02:51 | but I would like them to live a little
longer, and to be a little faster.
| | 02:56 | So let's crank the Speed up to around, I don't know, 230.
| | 03:00 | Hit the spacebar, and you will notice we have
this Particles just kind of popping on the scene.
| | 03:06 | This would be kind of cool in and
of itself, but let's go ahead
| | 03:09 | and make it a little more complicated
by adding a camera move.
| | 03:12 | I am going to stop playback just for a second.
| | 03:14 | Choose the Camera, Add Behavior, Camera, and choose Sweep.
| | 03:19 | All I want to see happen is this camera just spinning
around in Y space, just creating an interesting effect.
| | 03:25 | So go ahead and just drag the end, and you will notice,
if you drag in your HUD, it won't go far enough,
| | 03:32 | so open up your Inspector and drag
the end; drag it right around to 4500.
| | 03:46 | So now go ahead and hit your spacebar and you will
notice we have a whirling dervish of 3D Particles.
| | 03:52 | That's the basics of changing your
particles from 2D particles into 3D.
| | Collapse this transcript |
|
|
14. Working with VideoApplying Match Move: Four-corner pin | 00:00 | If you stay in the industry long
enough, eventually someone will ask you
| | 00:03 | to add something to a scene that wasn't originally there.
| | 00:06 | For this scene, we need to add a
logo onto the side of this boat.
| | 00:10 | So go to your Media folder, and under
Graphics, you should find the Oceanside.psd.
| | 00:15 | Just drag in and drop it.
| | 00:17 | Luckily, it's a pretty simple logo.
| | 00:20 | All you have to do is pin it to the side of the boat.
| | 00:23 | So go ahead and hit the spacebar or Play.
| | 00:25 | That doesn't look very promising,
but luckily, we have Four-corner pin.
| | 00:33 | So go up to Add Behavior, Motion
Tracking, and choose Match Move.
| | 00:38 | Obviously, Match Move is named because it matches the move.
| | 00:42 | Hit F7 to open up your HUD.
| | 00:45 | Under Type, change it from Transformation to Four Corners,
| | 00:48 | and now you will notice we have four
corners to pin on the side of the boat.
| | 00:52 | What we want to do is try and choose
some distinct locations.
| | 00:56 | So go ahead and drag the lower right corner
to a lower right section of the boat.
| | 01:01 | And the upper right corner, do the same.
| | 01:06 | And the lower left corner, somewhere up here by the rust.
| | 01:12 | And the upper left corner, we will pin
close to the gunnel here up on the side.
| | 01:21 | We need to fix this lower right corner.
| | 01:25 | Starting to look a little better.
| | 01:29 | Let's see.
| | 01:29 | So I am just trying to find some dirty areas
where there is a little bit of contrast,
| | 01:39 | sort of like this distinct cut right here.
| | 01:46 | Close enough.
| | 01:47 | Now, we can let this analyze the move, and then
if it's close, we will go ahead and colorize
| | 01:51 | and blend this into the boat a little bit.
| | 01:53 | So click the Analyze button.
| | 01:57 | And now you notice it's chunking right
along and analyzing each individual corner.
| | 02:06 | Let's see the results.
| | 02:07 | Move your playhead back to the beginning,
open F5 and Deselect the Match Move,
| | 02:13 | and hit your spacebar and let's look at it.
| | 02:19 | That looks pretty darn good.
| | 02:22 | Now all we have to do is colorize
this a little bit and blend it
| | 02:25 | into the boat some more so it doesn't pop out so much.
| | 02:28 | So stop playback, move your playhead back to the
beginning, go to your Library, choose Filters,
| | 02:36 | and let's look for something we can adjust color with.
| | 02:39 | Colorize; drag and drop it right to the Oceanside Layer.
| | 02:44 | Its default setting actually looks pretty
good, let's just adjust its Blend Mode
| | 02:48 | to blend it into the background a little more.
| | 02:50 | Choose Darken, and drop its Opacity down to 85.
| | 02:55 | Now Deselect the Layer, hit F5 to hide your Layers,
and hit your spacebar to check out the work.
| | 03:03 | There we go, we just did a somewhat complex Four-corner pin.
| | 03:07 | I hope you find this tool useful the more you use Motion.
| | Collapse this transcript |
| Applying Match Move: Transform | 00:00 | So you have got a client that has watched a lot of commercials,
and they like the look of the car commercials where all the
| | 00:05 | graphics are tied to it as it whizzes around the scene.
| | 00:08 | Of course they have shot some stuff and they want you to do
the same. Well, with Motion 3 it's pretty straightforward.
| | 00:14 | If it's not already open, we are on the 02_Applying_
Match_Move Project. Hit F5 and open your Layers tab.
| | 00:21 | Turn on the Match Move text
| | 00:23 | and its Underline.
| | 00:25 | Click on Underline,
| | 00:26 | go to Add Behavior,
| | 00:28 | Motion Tracking,
| | 00:29 | Match Move.
| | 00:31 | Open the Inspector, and you'll notice it
automatically assumed the source was the layer below.
| | 00:36 | Well, that's not the case, so lets drag it out.
| | 00:39 | Now drag the Track Move video into the Source well.
| | 00:44 | The anchor point that's going to use for the Match Move
| | 00:47 | needs to be attached to an area of the car that's very distinct.
So I'm going to drag it to the gas tank right here on the edge.
| | 00:56 | Now click Analyze.
| | 01:01 | One of the things I love about the Match Move
in Motion is the fact that it analyzes once,
| | 01:05 | and then you can take that data and apply
that to everything else in the scene.
| | 01:10 | Rewind your playhead to the beginning.
| | 01:12 | Now select the text.
| | 01:14 | Go up to Add Behavior, Motion Tracking,
| | 01:17 | Match Move,
| | 01:18 | and you'll notice this little pull-down.
| | 01:20 | Go ahead and click it
| | 01:21 | and choose the Underline Match Move option. This is taking
| | 01:25 | the Match Move data
| | 01:27 | that is already been analyzed from the
Underline and applying it to the text.
| | 01:33 | Now close your Layers tab, F5, and hit your spacebar,
| | 01:39 | and enjoy the move.
| | 01:40 | So as you can see, with Match Move in Motion 3, creating
some complex graphic effects really isn't that hard.
| | Collapse this transcript |
| Working with stabilization| 00:00 | So you have taken the vacation of a lifetime and you shot some
footage that you would love to show your friends and family,
| | 00:06 | but you don't want to make them seasick.
Well, with Motion 3 and Stabilize,
| | 00:11 | we can fix this.
| | 00:13 | If it's not already open, we are in the 03_Stabilization Project.
| | 00:18 | Go ahead and select your background footage,
| | 00:20 | click Add Behavior,
| | 00:22 | Motion Tracking,
| | 00:23 | and Stabilize.
| | 00:24 | Hit F7 to open your HUD, and we have
some options. We can adjust the Position,
| | 00:30 | the Position and Scale,
| | 00:32 | or Position, Scale and Rotation.
For now let's just try Position.
| | 00:38 | Go ahead and click Analyze.
| | 00:42 | Now, Motion is going through frame by frame and analyzing
the footage and trying to figure out exactly how it can move
| | 00:49 | things around to keep it nice and stable.
| | 00:57 | It's almost done,
| | 00:59 | and as soon as its there, go ahead and hit your spacebar.
| | 01:05 | Let me move the HUD out of the way,
and you can see here we have got these edges.
| | 01:09 | The majority of the footage looks pretty darn stable,
| | 01:12 | but these edges are flowing around quite a bit.
| | 01:16 | So stop your playback.
| | 01:17 | Rewind your playhead back to the beginning,
| | 01:21 | and there is an option for Borders called Zoom.
| | 01:24 | This will zoom the footage up so you don't
get those black edges around the border.
| | 01:29 | Now, it was twisting a little bit as well,
so let's have it adjust the Rotation.
| | 01:34 | Go ahead and click Analyze again.
| | 01:39 | Not only is Motion going through and analyzing each frame,
it's adding the Rotation data, as well as figuring out how far
| | 01:46 | to zoom the footage so you don't get those black edges
| | 01:50 | all the way around the outside.
| | 01:56 | So as soon as it's finished,
| | 01:58 | move your playhead back to the beginning,
| | 02:01 | and hit the spacebar.
| | 02:03 | And now we have a nice, stable shot. So the next time you
have shaky footage, open up Motion 3 and give Stabilize a try.
| | Collapse this transcript |
| Retiming video | 00:00 | Retiming is one of the great new features in Motion.
| | 00:03 | In the past, you used to have to jump to Final
Cut to retime your footage or even Shake,
| | 00:07 | but now you can do it right within the Motion interface.
| | 00:10 | So if you have got that one shot, but just isn't
quite long enough, we can go ahead and fix that.
| | 00:15 | There are a couple of ways we can do it.
| | 00:16 | We can use Behaviors, or we can use the Inspector.
| | 00:19 | So if it's not open already, we
are in the 04_Retiming Project.
| | 00:24 | Go ahead and select your footage and open the Inspector.
| | 00:27 | Down at the bottom you will notice Timing.
| | 00:30 | If you open the Options for that, the first
option is to Remap your Time at a Constant Speed.
| | 00:36 | So if you do want to extend your footage,
go ahead and just adjust the Speed down.
| | 00:40 | I am going to adjust this one to 70%,
and you noticed the footage got longer.
| | 00:46 | Let me Undo that just so you can see, and Redo.
| | 00:49 | It's extended the length of the footage.
| | 00:52 | Go ahead and hit Shift O to move
your playhead to the out point.
| | 00:57 | Rewind you playhead to the beginning and hit the spacebar.
| | 01:01 | You see Motion really doesn't have
much of an issue slowing footage down.
| | 01:07 | But the car does look a little jittery, so
let's look at some Frame Blending options.
| | 01:12 | The first one is just Blending.
| | 01:13 | This is the first easiest way for Motion to analyze the
frames on either side and try and blend them together.
| | 01:20 | Rewind your playhead to the beginning and hit the spacebar.
| | 01:24 | That already looks a little bit better,
but I know there could be better options.
| | 01:31 | So click on Blending and adjust to Motion-Blur Blending.
| | 01:34 | This adds a Motion-Blur onto your car.
| | 01:36 | So go ahead and hit the spacebar, and now you will
notice it has just a slightly different blur to it.
| | 01:47 | Go ahead and stop your playback and adjust
your Frame Blending to Optical Flow.
| | 01:53 | Rewind your playhead to the beginning and hit the spacebar.
| | 01:56 | Now you will notice, it's kind of faint, but on the
front of the car there is a slight distortion happening.
| | 02:08 | Basically all that means is Optical Flow is analyzing each
and every pixel of this image, and its blurring those pixels
| | 02:15 | and blending them together to create a smooth looking image.
| | 02:19 | But if you slow some footage down too much,
Optical Flow is just not quite the solution,
| | 02:24 | because you will get this neat Distortion Effect.
| | 02:26 | I kind of like it, so I am going to leave it for now.
| | 02:30 | Go ahead and stop your footage, and the next
way to remap your footage is Variable Speed.
| | 02:36 | Go ahead and click on that.
| | 02:38 | Notice, Optical Flow works with
Variable Speed adjustments as well.
| | 02:42 | Hit Cmd+8 to open your Keyframe Editor, and you will
notice, my Retime value is set at a constant 28.
| | 02:50 | Let's go ahead and remap this Retime footage.
| | 02:53 | Click on your Sketch tool and click up.
| | 02:57 | Basically what I would like to see happen is have
the car come in from the right, come to about here,
| | 03:02 | rewind a little bit, and then shoot out of the scene.
| | 03:06 | So again with the Sketch tool selected
and Retime value selected,
| | 03:11 | just click a little bit lower,
and further down the Timeline.
| | 03:16 | Now let's smooth this out.
| | 03:18 | Grab your Selection tool and hold down
Command and drag on each one of the Keyframes.
| | 03:24 | This will smooth out the motion as
it's moving from one speed to another.
| | 03:29 | Rewind your playhead to the beginning, and you will notice,
| | 03:32 | when we applied that Retiming it
actually shortened the footage.
| | 03:37 | So drag your Play Range outpoint to the end of your
Retiming and Rewind your playhead back to the beginning.
| | 03:43 | Hit the spacebar, and let's see what the results are.
| | 03:49 | Pretty cool.
| | 03:50 | We are still getting a little bit of the
Optical Flow distortion, but like I said,
| | 03:54 | I think that's sort of adds to the effect.
| | 03:57 | So that's the basics of Retiming
footage using the Inspector in Motion.
| | Collapse this transcript |
| Retiming with behaviors| 00:00 | Another way to retime your footage
in Motion is to use Behaviors.
| | 00:04 | If it's not already open, we are on
the 05_RetimingBehaviors project.
| | 00:08 | Select your footage and go to the
Library to browse some of the behaviors.
| | 00:13 | Click on Behaviors and go to Retiming.
| | 00:16 | You can see there are a lot of behaviors that
are set up to actually build up your footage.
| | 00:20 | Go ahead and drag the Flash Frame
out to your canvas and drop it.
| | 00:26 | It adds a random Flash Frame.
| | 00:27 | Go ahead and stop playback, hit F7 to open up your HUD
and at the bottom, you will see an option for Random Seed.
| | 00:34 | Click the Generate button and it will actually
generate different frames for the Flash Frames.
| | 00:40 | Hit Delete on your keyboard to delete the behavior.
| | 00:43 | There is another useful behavior in
Motion and that's the Hold Frame.
| | 00:47 | If you drag and drop it out on your
footage, now since my playhead was at 02.09,
| | 00:52 | it will hold this frame for the rest of the scene.
| | 00:56 | Rewind your playhead back to the
beginning and hit the spacebar
| | 00:58 | and you will notice the footage stop immediately and hold.
| | 01:02 | This is actually a very useful behavior because
in the past they used to have output a still frame
| | 01:07 | and then re-import it back into your
project, if you wanted that frame to hold.
| | 01:12 | Now, you can just drag a behavior.
| | 01:14 | Go ahead and stop playback and hit Delete
on your keyboard to delete the behavior.
| | 01:18 | There are several other options I could go through, but for
right now let's jump to one that most people use, Set Speed.
| | 01:26 | Drag it and drop it right out to the canvas.
| | 01:28 | The way Set Speed works, it's just
like Retiming in the Inspector.
| | 01:32 | The only difference is now we have
sliders instead of a graph.
| | 01:36 | Hit I to trim your endpoint.
| | 01:40 | So now when the footage plays back, once it gets to
this point, it will ramp into the Set Speed behavior.
| | 01:46 | Go ahead and drag your playhead to about 02:19 and
hit O. This will trim out your Set Speed behavior.
| | 01:53 | Let's look at some of the options in the HUD.
| | 01:55 | We have Speed, right now this is
set to slow the footage down to 50%.
| | 02:01 | we can adjust the Ease in Time.
| | 02:02 | That's how many frames it takes to ease into the move.
| | 02:06 | We need to adjust this down to about 8 or 7.
| | 02:09 | Since this is such a short set speed.
| | 02:11 | Same thing with the Ease Out Time.
| | 02:15 | The Curve for both Ease In and Out basically just
| | 02:19 | to adjust how sharp the curve is going
into and out of the speed adjustment.
| | 02:25 | Now with all that set close your HUD, rewind your
playhead to the beginning and hit the spacebar.
| | 02:32 | Now you notice it slows down and then speed right back up.
| | 02:36 | If you don't like how the frames are blending, stop
your playback for a second, go to the Inspector
| | 02:42 | and under your Property's pane, under Properties, under
Timing you can adjust your Frame Blending from None
| | 02:49 | to any one of these other frame blending options.
| | 02:52 | A lot of people choose Optical Flow.
| | 02:55 | The reason they choose Optical Flow is brought from shake.
| | 02:58 | It actually analyzes each frame down to the pixel.
| | 03:02 | Rewind your playhead back to the
beginning and let's see what happens.
| | 03:05 | Slowed the footage down and then speeds it up.
| | 03:08 | Now if you slow your footage down
too much with Optical Flow,
| | 03:12 | you will get this interesting warping
effect around your car.
| | 03:16 | I kind of like it, so I am going to leave it in.
| | 03:18 | Go ahead and hit your spacebar and watch it playback.
| | 03:22 | So now we have covered the basics of how to
Retime your footage using behaviors in Motion 3.
| | Collapse this transcript |
|
|
15. Working with AudioAdding and adjusting audio| 00:00 | Adding and adjusting your audio in
Motion can sometimes be a little tricky.
| | 00:04 | But as long as you know where to look, it's not that bad.
| | 00:06 | If you don't already have it open, we are
on the 01_AddingAdjustingAudio project.
| | 00:11 | With that project open, navigate in your File
browser to the Media folder and open the Audio folder
| | 00:19 | and select your Audio file and you will notice that it
automatically starts playing. (Music plays in background.)
| | 00:22 | This is a preference you can change in
your Motion preferences if you choose.
| | 00:27 | (Music stops.) I left mine like that, just
because it's the default and I wanted to show you.
| | 00:30 | Now, with your Audio clip selected click Import and you notice
the audio file is now available in your mini Timeline.
| | 00:39 | Let's see where else audio files exits.
| | 00:42 | Hit F5 and open up your Project pane and you notice
the audio files not listed in the Layer tab at all.
| | 00:48 | You can find your audio file in the Media
tab, Cmd+5 or in the Audio tab, Cmd+6.
| | 00:57 | Under the Audio tab, you should see these options.
| | 01:00 | If you're not seeing all these options click on the fly-out
button and make sure both of these options are checked.
| | 01:06 | So this slider controls the levels of the clip.
| | 01:08 | I can control the pan. -100 is all the
way left, +100 is all the way right.
| | 01:17 | Let's make sure that's back at 0.
| | 01:21 | You can Mute or Solo your audio tracks
and you can control your Outputs,
| | 01:25 | since this is Stereo, I am just going to leave it Stereo.
| | 01:28 | You can also Lock your audio tracks, so you can't edit it.
| | 01:30 | But let's go down and look at some of the editing options.
| | 01:33 | Hit F6 to open your Timing pane, and you
will notice there is an Audio Editor.
| | 01:39 | You can jump directly to the Audio Editor with Cmd+9.
| | 01:42 | So notice in the upper left section in
the Audio Editor there is a Play button.
| | 01:46 | Go ahead and click that.
| | 01:48 | (Music plays and then stops.)
| | 01:52 | And you will notice now the playhead is at 03:15,
but the actual playhead of our project is at 0.
| | 01:58 | The Audio Editor playhead will
operate independently of your project.
| | 02:02 | This is just in case your project isn't playing in back in
real-time when you play in the Audio Editor it will play
| | 02:07 | in real-time. That makes it a lot easier to add
markers and time your graphics to the audio.
| | 02:13 | Grab your playhead and pull it back and forth
across the Timeline. (Music plays in background)
| | 02:17 | This is called scrubbing (Music stops) and if you
notice if you click and hold in a specific spot,
| | 02:22 | (One note plays multiple times and stops.)
| | 02:23 | Motion will continue to preview a
specific section of this audio clip.
| | 02:27 | Now, I know this is previewing five frames
because that's the default in my preferences.
| | 02:31 | So if you want to change that, feel free.
| | 02:34 | Now if it's not scrubbing for you, you want to make
sure this button in the lower left is dark grey.
| | 02:39 | That turns on and off your audio scrubbing.
| | 02:41 | Now let's look how we can trim this audio file.
| | 02:44 | If we didn't want it to start ahead of the project, all
you have to do is position your mouse on the left edge
| | 02:49 | of your audio file and click and drag. And now you
will notice I have just trimmed endpoint to 01.04.
| | 02:56 | I can also trim my In or Out points just by typing numbers.
| | 03:00 | Let's trim the Out point to 3 seconds.
| | 03:03 | Click in the window and type 3-0-0
for 3 second, 0 frames and hit Enter
| | 03:09 | and now you will notice my audio clip has been trimmed.
| | 03:13 | If you go ahead and hit the Play button,
| | 03:15 | (Music plays.)
| | 03:17 | you notice it only plays that one individual section.
| | 03:20 | That's because this button is already checked.
| | 03:23 | If you turn this off, it will play your entire audio clip.
| | 03:27 | (Music plays.)
| | 03:30 | So if you just want to preview the section
you trimmed, make sure that button is lit.
| | 03:34 | Now there are two other little options I want make sure to
show you before we hop out of the adjusting audio section
| | 03:40 | and that's making sure your audio is
visible in some other areas of Motion.
| | 03:44 | In the Keyframe Editor, you can make audio visible.
| | 03:48 | You just need to make sure this button down here is checked
| | 03:51 | and now you will notice the waveform
of our edited section is illuminated.
| | 03:56 | Same thing in the Timeline.
| | 03:57 | When you click in the Timeline, go down to the lower
left and make sure your Audio button is checked
| | 04:02 | and you will see the audio in the bottom of your Timeline.
| | 04:05 | I typically have this off but feel free to leave it
up if you are doing a lot of different audio edits.
| | 04:12 | Now, last thing I want to point it out is an
option back in your Audio tab and that's the fact
| | 04:16 | that there is an audio clip here
but there is also a Master section
| | 04:21 | and the way this works Motion supports multiple audio files.
| | 04:25 | So you can continue to import multiple audio files in
here and then adjust their master volume by clicking
| | 04:31 | on the Master section and dragging it up and down.
| | 04:34 | With the Master audio controls illuminated, when you go to
the Audio Editor, you notice now Master is the main option.
| | 04:41 | So now that we know little bit about how audio
works within Motion, let's move on to our next video
| | 04:45 | where we will Add Markers so we can time
our graphics and video to our audio.
| | Collapse this transcript |
| Adding audio markers| 00:00 | Here we have a title card and
I would like the text to jump
| | 00:03 | around the screen at different key points based on audio.
| | 00:06 | We are going to do this with Markers.
| | 00:08 | There are two kinds of Markers within Motion.
| | 00:10 | Object Markers and Project Markers.
| | 00:12 | For this project, we are going to be using Project Markers.
| | 00:16 | The reason why, will become clear in a second.
| | 00:18 | So if it's not already open we are
on the 02_AddingAudioMarkers project.
| | 00:23 | Let's look at our Audio.
| | 00:24 | Hit Cmd+6 to open the Audio pane
and Cmd+9 to open our Audio Editor.
| | 00:30 | Select the SynthAudio in your Audio pane and come
down to your Audio Editor and click right here
| | 00:36 | to make sure this dark grey area becomes light.
| | 00:39 | That way you know the Audio Editor is active.
| | 00:41 | So when you hit the spacebar, it will playback
the audio without playing back the project.
| | 00:46 | This is important because it will play the audio
back in real-time and that way we add our Markers,
| | 00:50 | we can make sure they are in the exact precise place.
| | 00:53 | So go ahead and hit your spacebar to begin playback
and hit Shift+M every time to create a Project Marker.
| | 00:58 | I am going to create three, so my text will appear in three
different places before it hits its final resting spot.
| | 01:05 | So go ahead and give it a shot.
| | 01:07 | (Music plays.)
| | 01:16 | Now you can name your Markers just by double-clicking them.
| | 01:19 | Just going to call mine Hit 1, 2 and 3.
| | 01:24 | Now, the main reason we are adding Project Markers
is the fact that you can actually name these Markers.
| | 01:29 | If you want to create an Object
Marker let's go to the Timeline.
| | 01:32 | Select the NEW TECNOLOGY layer, move
your playhead back to the beginning
| | 01:36 | and then drag your playhead towards the first marker.
| | 01:39 | If you hold on Shift as you drag it,
it will snap to the first marker.
| | 01:43 | Now select the NEW TECHNOLOGY layer in your
Timeline and go to Edit and choose Split.
| | 01:49 | Now you will notice it split into two separate layers.
| | 01:52 | Select the new layer you just created and move
your playhead towards the next marker making sure
| | 01:58 | to hold down Shift, so it's next.
| | 02:00 | Go to Edit and choose Split.
| | 02:03 | Again select the new one you just created and
drag your playhead towards your last marker
| | 02:07 | and hold down Shift, choose Edit and Split.
| | 02:12 | Now that this is split up, let's move our text
around the screen to a couple of different positions.
| | 02:16 | Move your playhead towards the beginning
and select the first NEW TECHNOLOGY layer.
| | 02:21 | Now drag that to a different place on the screen.
| | 02:24 | Move your playhead to the next NEW TECHNOLOGY and drag that.
| | 02:29 | You got it or do it for this next
one and we are done with animation.
| | 02:34 | Make sure to deselect all your layers,
move your playhead back to the beginning
| | 02:38 | and hit your spacebar to see what we have got.
| | 02:40 | (Music plays.)
| | 02:50 | So now you have got it.
| | 02:51 | Some basic animation, timed to
the audio with the use of Markers.
| | Collapse this transcript |
| Applying the audio parameter behavior| 00:00 | The Audio Parameter behavior can really make
your audio and graphics link together literally.
| | 00:06 | If you don't already have it open, we are
in the Audio Parameter behavior project.
| | 00:10 | Go and hit the spacebar and see what we have got.
| | 00:12 | (Music plays.)
| | 00:18 | Go ahead and stop your playback.
| | 00:21 | Now I would like the scale of this
last text to change based upon audio.
| | 00:25 | So go ahead and select the last New Technology layer
and go to the Inspector and under the Text menu,
| | 00:33 | go to Size and Ctrl-click or right-click
and choose Audio and now you notice
| | 00:40 | under the Audio behavior, I have
a dropwell for Source Audio.
| | 00:43 | So let's go ahead and add our audio to that behavior.
| | 00:46 | Go to your Audio tab and click and
drag that right into your dropwell.
| | 00:53 | Now let's preview this Audio in the behavior
by hitting the Play button right here
| | 00:57 | (Music plays.)
| | 01:00 | and you will notice this is an equalizer that
shows me the entire spectrum of this audio file.
| | 01:05 | You can isolate your animations to respond
only one specific frequency if you choose.
| | 01:10 | I would like this to respond to the most active frequency.
| | 01:13 | So let's go ahead and play it back
and choose a specific frequency.
| | 01:16 | (Music plays.)
| | 01:20 | So let's isolate this base hit that
seems to be popping up the highest.
| | 01:24 | So go ahead and drag the low frequency slider
all the way to the edge of that frequency
| | 01:31 | and drag the right arrow all the way
to the edge of that frequency as well
| | 01:35 | and you will notice we are adjusting the
low frequency and high frequency parameters.
| | 01:39 | I can also adjust the Floor and Ceiling,
which is graphically represented over here,
| | 01:44 | but I want this to animate based on the
entire response of this specific frequency.
| | 01:49 | So I am just going to leave that alone.
| | 01:51 | Now go ahead and play your project
and let's see what's happening.
| | 01:54 | (Music plays.)
| | 01:58 | So this text is barely moving.
| | 02:00 | I am going to move my playhead back to the
beginning of this specific layer and in order
| | 02:04 | to make this text bounce larger,
go ahead and drag the Scale.
| | 02:08 | Drag it up to some around 65.
| | 02:11 | Let's play back and check it out.
| | 02:12 | (Music plays.)
| | 02:16 | This is pretty close but right
now the Apply Mode is set to Add.
| | 02:20 | So the original scale of this object is as
absolutely small as it could possibly be.
| | 02:25 | This is close, but the Apply Mode is Add.
| | 02:28 | Now I would like this to add and subtract
from the original scale of this object.
| | 02:33 | Just go ahead and click on the
pull-down and choose Add and Subtract.
| | 02:36 | This way it will not only get larger
but it will also get smaller.
| | 02:40 | Move your playhead back to the
beginning of the layer and check it out.
| | 02:43 | (Music plays.)
| | 02:48 | This is really close, but right now it's a sharp
animation so let's smooth it out by choosing Peaks,
| | 02:54 | Smooth and now go ahead and rewind your
playhead back to the beginning and hit Play.
| | 03:00 | (Music plays.)
| | 03:08 | Now if your computer isn't playing back in
real-time, you may have to do a RAM preview.
| | 03:13 | If you have to do that move your playhead back to the
beginning, hit Cmd+R and load it up into your RAM Buffer
| | 03:19 | and then you can see the full effect
of the Audio Parameter behavior.
| | 03:27 | (Music plays.)
| | Collapse this transcript |
|
|
16. Exporting Exporting files| 00:00 | So you've just created your masterpiece
and now you'd like to export it.
| | 00:04 | So let's go check out some Motion's export options.
| | 00:07 | Go to File and notice there are different Export options.
| | 00:11 | I could either just export this composition the way it is or
export whatever I have selected or Export using Compressor.
| | 00:18 | I am not going to get into compressor too much right now.
| | 00:21 | But I just want you to know that's a really great
feature because it will actually move the entire project
| | 00:25 | over to compressor and while it's generating a high
resolution QuickTime, you can continue working in Motion.
| | 00:32 | Right now though, we will just go ahead and choose Export
and by default it's going to export a QuickTime movie.
| | 00:39 | If I click the pull-down, you'll notice I can export
an Image Sequence or just an Individual Frame.
| | 00:45 | Let me click on Options.
| | 00:47 | Right now, it's exporting a QuickTime
Movie; that's the Animation Compressor.
| | 00:52 | If you click on Advanced, right here I can
change what depth I'd like this to render at
| | 00:58 | and right now it's set to Millions of Colors+.
| | 01:01 | What the plus implies is that this image is
going to have an alpha channel applied to it.
| | 01:05 | Well, since this is a full frame graphic I don't need that,
so let me go ahead and choose that to Millions of Colors.
| | 01:11 | Make sure the Quality is Best.
| | 01:14 | If I had audio, I'd be concerned about this, but I just
want to show you, you can output three different resolutions
| | 01:19 | of your audio, as well as stereo or stereo or 5.1 Surround.
| | 01:24 | Now let's look at our Output tab.
| | 01:26 | Right now, Use current project and canvas settings
is checked, so you want to make sure to uncheck that,
| | 01:32 | because under the Render Quality, you
want to make sure that that set to Best.
| | 01:37 | Just for a refresher, you can adjust the Render Quality
under the View drop-down menu as we are working in Motion.
| | 01:43 | Most of the times, I am working at Normal or Draft
Resolution, so it is really important to pay attention
| | 01:49 | of what setting your Render Quality
is set to when you go to export.
| | 01:53 | Again, since I am not exporting an alpha
channel, I can change this Color back to Color.
| | 01:57 | I do want to export at Full Resolution.
| | 02:00 | So to recap, I am exporting a QuickTime Movie with
Animation Compressor at Millions of Colors, 100% quality,
| | 02:07 | at the current Frame Rate of the project, just checked
right here, which is 23.90 and all of the following options.
| | 02:15 | So when you are ready to export go ahead
and click OK, and then choose Export.
| | 02:22 | There is one last checkbox that I want to
show you and that's the Use play range.
| | 02:27 | With this checked, it will only export
whatever you have setup for your play range.
| | 02:32 | This wasn't pertinent in this specific project, because the
play range was set for the entire length of the composition.
| | 02:38 | So there are the basics of exporting your projects.
| | 02:40 | In the next movie, we are going
to create our own custom present,
| | 02:43 | so we don't have to go through all these
pull-downs every time we export our projects.
| | Collapse this transcript |
| Creating an export preset| 00:00 | If you're constantly exporting your projects to the same
settings and always having to go through all the menus
| | 00:05 | to change things, you might want to create an Export Preset.
| | 00:08 | So what I would like to do with this title is
export a preset at the highest possible resolution
| | 00:14 | that can be imported into any editing application,
whether it's Final Cut or Avid or what have you.
| | 00:19 | So if it's not already open, we are
in the 02_ExportPresets project.
| | 00:23 | Go up to File and choose Export.
| | 00:27 | I want to export a QuickTime Movie,
let's look at the options.
| | 00:32 | QuickTime is perfect.
| | 00:33 | Let's leave the Compressor at Animation because that's very
widely accepted; it's also a lossless codec which means
| | 00:39 | when it compresses the file, it won't
degrade the image quality at all.
| | 00:43 | Let's look under the Advanced options.
| | 00:45 | Here, we'll leave the Frames per second at 23.98
since what was in the project and under Depth,
| | 00:51 | we want to change Millions of Colors+ to Millions of
Colors, since this project doesn't have an Alpha Channel.
| | 00:57 | Leave the Quality settings up at Best and click OK.
| | 01:00 | We will leave the Sample rate for Audio at
48 since that's a standard for video editing.
| | 01:06 | Leave the Mix at Stereo and let's
look at our Output options.
| | 01:10 | You want to uncheck Use current project and canvas settings.
| | 01:14 | This way you can make sure every time you use the
preset, the image quality will be at its absolute best.
| | 01:20 | Leave the Resolution at Full and change the Color
back to Color since we don't have an alpha channel.
| | 01:25 | You can leave Premultiply checked and go down to
Render Quality, change it from Normal to Best.
| | 01:31 | Now if you're constantly working with interlaced footage,
you want to make sure Field Rendering is checked,
| | 01:36 | since we are at 24p we don't have to do that.
| | 01:39 | I typically leave Frame Blending on just
in case I use some retiming behaviors.
| | 01:44 | Now it's instead of clicking OK,
go to the top and name your preset.
| | 01:48 | I am going call this AnimationHighNoAlpha.
| | 01:51 | That way I know it's the highest quality animation
compressed QuickTime with no alpha channel.
| | 02:00 | Go ahead and click Save As, and now you
will notice it's in the Preset pull-down.
| | 02:06 | Anytime you want to use this preset in the future, just
click Use and go down and choose AnimationHighNoAlpha.
| | 02:12 | If you'd like to export your project,
go ahead and click Export.
| | 02:16 | I am going to click Cancel, just so I can show you
how to delete a preset, if you accidentally create one
| | 02:21 | that you don't want to have in your list.
| | 02:24 | Go to you Motion, Preferences and go to the Preset options,
and you'll notice there is a pull-down for Project Presets.
| | 02:33 | Make sure it's set to Export Presets.
| | 02:36 | You'll notice AnimationHighNoAlpha is there and if
you'd like to delete it, just hit the Delete key.
| | 02:42 | This is also a place where you
can change this to your Default
| | 02:45 | if this is the most common setting you're going to be using.
| | 02:48 | Just go ahead and check the checkbox.
| | Collapse this transcript |
| Archiving your project| 00:00 | So you've done your job. You've created a title sequence and
delivered it on time. Now it's time to actually archive your project.
| | 00:07 | Archiving is important because it collects all of the
data, all of the files you used in your project into
| | 00:14 | one specific place so you can easily back it
up to disk or external drive or what have you,
| | 00:20 | just really quickly and easily in one specific folder. So
let's check it out. Go up under File and choose Save As,
| | 00:30 | and all you do to archive your project is choose Copy to folder.
| | 00:35 | Any external media will be copied along with this document.
| | 00:39 | Up to 1 items will be copied. So it's basically saying, there
is one thing that's going to be copied and it's going to require
| | 00:46 | 62.6 megs (MB) of space to copy this.
| | 00:50 | So,
| | 00:51 | when you click Save, it will not only save the project
but it will move any QuickTime files, Photoshop documents,
| | 00:59 | any external media that Motion is referencing within this
individual project. It will export that to the folder. So typically
| | 01:06 | when I archive a project, I
create a new folder and I just call it
| | 01:10 | whatever the name of the project
is and Archive. Click Create and Save.
| | 01:20 | Now, this is going to go ahead and copy absolutely everything that
was used in the project into that folder. So let's check it out.
| | 01:27 | Click on the Finder
| | 01:28 | and you notice now we have a folder called NewTechArchive
and in there you'll see the 03_Archive folder with the
| | 01:36 | project file and the Media itself.
| | 01:40 | Now with your project archive you can rest assured that when that
client calls back in two years, you can pull up that project
| | 01:47 | with absolutely everything already connected.
| | Collapse this transcript |
|
|
17. Final Cut Studio IntegrationSending your project to Compressor| 00:00 | Now you have finished your project and you
could easily go up under File and choose Export,
| | 00:04 | but one of the features I love in Motion
is the ability to export to Compressor.
| | 00:09 | The reason I like that, when you export something to
compressor the file itself will actually move completely
| | 00:15 | to compressor and compress your projects.
| | 00:18 | So you can actually open up the brand new project in
Motion and continue working while Compressor takes care
| | 00:24 | of compressing this for whatever format you choose.
| | 00:27 | So I would like to export this for use on a DVD.
| | 00:30 | So go up to File and choose Export using Compressor and
you will notice there is a pull down from Export Presets.
| | 00:38 | Go and click on that and choose DVD and I want it to be
the best quality and it's no where near 120 or 150 minutes,
| | 00:45 | so I am going to set it around 90 minutes.
| | 00:48 | The reason I am using this preset, it's the shortest
possible time so the resolution is actually set pretty high
| | 00:54 | and I will choose the MPEG 6.2 megabytes per second 2-pass.
| | 00:59 | What that means?
| | 01:00 | When compressor goes to compress this file,
it will analyze the file once and then go back
| | 01:05 | and actually compress it for the second pass.
| | 01:07 | So go ahead and choose that and if I had
a shorter player range I could check that.
| | 01:12 | So it only send whatever is in
the player range to compressor.
| | 01:16 | We don't need to do that and since we are going to MPEG-2,
I don't need to worry about the Use correct project
| | 01:21 | and canvas settings considering that this is
going to be a largely compressed file anyway.
| | 01:27 | Let's go ahead and click Export, see what happens.
| | 01:30 | Now it may take a second once you have
send your project to Compressor that's
| | 01:34 | because it's literally moving all the
files into a separate application.
| | 01:38 | So it is going to take a sec to
populate up here and there you go.
| | 01:42 | You will notice it popped up a second tab called Untitled
2, so let's go ahead and save this compressor job.
| | 01:49 | Go up to File and click Save and it
should ask where you want to set it.
| | 01:55 | I will just save mine to the desktop
and call it CompressorSettings.
| | 02:02 | Go and click Save and now you will
notice that tab has a name on it.
| | 02:07 | So the first option here it's MPEG-2 at this compression
rate 2-pass and right here is actually the destination.
| | 02:15 | If you right click or Ctrl+Click in this area, you can
change your Destination and I will just set mine to render
| | 02:22 | to the Desktop and then this last field is the
name, so I will just call this TitleOpen.m2v.
| | 02:30 | If you would like a summary of your settings
click through the different buttons right here
| | 02:38 | and it will show you all the different settings.
| | 02:41 | The one I wanted to watch for this
Compression is this, the Pixel aspect ratio.
| | 02:45 | Since we were working in high definition and this
is going to be a standard definition project,
| | 02:50 | I wanted to make sure that compressor knew
it was 16 by 9 and it did, so that's great.
| | 02:56 | Now to actually send your file, just click Submit.
| | 03:00 | Now a Pop-up Menu is come up to ask you the name
of this batch because you can set multiple settings
| | 03:06 | and multiple resolutions within Compressor.
| | 03:09 | If you want to find out more about Compressor, you
can go to the lynda.com Online Training Library.
| | 03:13 | We will go ahead and just leave the
name the way it is and click Submit.
| | 03:17 | If you want to see if your projects finished compressing,
open the arrow next to Today and checkout the Progress bar.
| | 03:23 | So sending your projects to Compressor will save your time
by compressing the file to whatever format or formats you
| | 03:29 | so desire, allowing you the ability to
move on to your next Motion project.
| | Collapse this transcript |
| Roundtripping between Motion and Final Cut Pro| 00:00 | Even though Final Cut Pro and Motion
are separate applications,
| | 00:03 | there is no reason why you can't utilize the features
of both apps in one project, because they work together
| | 00:08 | when you use a process called round-tripping.
| | 00:11 | Round-tripping is a process of sending your project
from one application to another and back again.
| | 00:16 | You can round-trip between all the different applications
in Final Cut Studio but since we are in Motion,
| | 00:21 | I am going to focus on the different ways you
can round-trip relating specifically to Motion.
| | 00:26 | The round-trip between Final Cut
Pro and Motion has a lot of options
| | 00:29 | since these applications are designed
basically to work together.
| | 00:32 | So let's get started.
| | 00:34 | If you don't already have it open, I am in the VegasEdit
Final Cut Pro project and so select your timeline
| | 00:42 | and hit the spacebar and you can see I have a very basic
edit here with some text that are just kind of slugged in.
| | 00:54 | Now we want to send this to Motion to actually add some text
as well as add some filter effects to this background video.
| | 01:01 | Now, I started in the Final Cut because Final Cut's editing
tools are leaps-n-bounce beyond what's available in Motion.
| | 01:07 | But I am sending it to Motion because its design tools
are leaps-n-bounce above what's possible in Final Cut Pro.
| | 01:13 | So there are two ways to round-trip in Final Cut Pro.
| | 01:17 | The first way isn't much of a round-trip,
it's actually a one-way ticket.
| | 01:20 | So select your VegasEdit sequence, go up
to File and choose Send To Motion Project.
| | 01:28 | Now when you do this it's going to ask
where you would like to send this project.
| | 01:32 | I am just going to send mine to the Desktop, you can send
yours wherever and I will just call this VegasEditOneWay
| | 01:40 | and as long as this box is checked, when I click Save,
it will automatically launch the sequence within Motion.
| | 01:49 | So there are couple things to look out for but go ahead
and hit the spacebar and let's see what we have got.
| | 02:01 | So if you notice our text didn't quite make it.
| | 02:05 | Let's hit F6 and open our Timing pane.
| | 02:08 | Well, luckily I would add in a marker in Final
Cut Pro where the text was supposed to begin,
| | 02:13 | because I knew text did not come across in
the round-trip from Final Cut Pro to Motion.
| | 02:20 | Now, the reason you would want to actually send something
directly to Motion as opposed to going to Motion
| | 02:24 | and then back to Final Cut, sometimes you just want to
create a basic graphic and it's easier to edit the elements
| | 02:30 | for that in Final Cut and then just send the whole thing to
Motion because you are not planning on going back any time.
| | 02:35 | So that's the first way to send something to Motion.
| | 02:38 | Hit Command tab and switch back to Final Cut Pro.
| | 02:41 | The second way is to send specific things to Motion.
| | 02:45 | So right now just click and drag a lasso
around all of these elements in your Timeline.
| | 02:52 | Now Ctrl+Click or right-click on any of those
elements and choose Send To Motion Project
| | 03:00 | and you will notice a slightly different window comes up.
| | 03:02 | Again, I am going to send this to the Desktop.
| | 03:05 | I will rename it VegasEditRound for round-trip
and again we want to leave Launch Motion checked,
| | 03:14 | but this box is kind of nice it's
embedding the Motion content.
| | 03:18 | What that basically means?
| | 03:20 | When you send this to Motion and then come back to
Final Cut Pro, all of these layers will be filed
| | 03:26 | into one project called VegasEditRound.motn
for Motion Project.
| | 03:33 | So go ahead and click Save.
| | 03:35 | Now we have got VegasEditRound open in Motion
and hit your spacebar to see what we have got.
| | 03:47 | So you notice the text still didn't
come across, but neither did the audio.
| | 03:51 | I didn't send the audio because once we treat this
footage, we are actually going to go back to Final Cut Pro.
| | 03:56 | So hit F6 to open your Timing pane and you will
notice the marker didn't come across in this version.
| | 04:03 | Luckily I know I wanted the text to
begin at the beginning of the last clip.
| | 04:07 | So go ahead and move your playhead to that edit point.
| | 04:10 | So let's go ahead and add some text.
| | 04:13 | Grab your Text tool and click on
your canvas and add your text.
| | 04:22 | When you are done adding your text
hit Esc and that will set your title.
| | 04:27 | Now I want to stylize this a little bit more, so
open the Inspector and under the Style options
| | 04:34 | for your text, go ahead and choose Outline.
| | 04:36 | I like the red, I just want to Blur it out just a little bit
| | 04:39 | so it gives the white a nice pop and
a little glow sort of like Vegas.
| | 04:44 | So just Opacity down a little bit
because I think the red is a little much.
| | 04:49 | So we have our basic text.
| | 04:51 | Now let's add some Filters.
| | 04:53 | Go and close your Timing pane F6
and open up the Project pane, F5.
| | 04:58 | Open up Group 1 and select the last clip.
| | 05:03 | Let's go ahead and add a Filter.
| | 05:04 | I want to add a slight glow to it so we will
just add Glow and let's add a little Dazzle.
| | 05:11 | So that adds a very Vegas look to things.
| | 05:14 | Now I could go through the process of
key framing this and all that stuff,
| | 05:17 | but I really want to focus on the round-trip.
| | 05:20 | So go ahead and save your project, File, Save.
| | 05:25 | Now hit Command tab and move back to Final Cut Pro.
| | 05:29 | Now you will notice all your clips have
been flattened into one Motion project
| | 05:34 | and also that sequence needs to be rendered.
| | 05:37 | If you move your playhead back and forth, now you will
notice the filters came across with the new revised text.
| | 05:45 | Move your playhead back to the beginning
and render your sequence, Option+R.
| | 05:53 | Also make know to the fact that the Motion Project
is now listed as a source in your source window.
| | 06:00 | Now with this rendered you can go ahead and hit
the spacebar then checkout what we have got.
| | 06:04 | (Music plays.)
| | 06:08 | This is pretty close but I would like to go
back and actually change the size of the text.
| | 06:13 | You can right-click again if Motion
wasn't open and say Open in Editor.
| | 06:19 | Since motion was opened, it just automatically
popped right back over to that project.
| | 06:22 | If it wasn't open it would relaunch
Motion and we would be right where we are.
| | 06:25 | So let's go ahead and select the text and make it larger.
| | 06:30 | Going to your Text Format options and just
increase the Size, somewhere around 80 and Shift+Z
| | 06:38 | so I can see the whole canvas and just
reposition this inside a title Safe.
| | 06:46 | If you go to View, you can turn on your Safe Zones and
make sure it's inside in a box here and I will go ahead
| | 06:51 | and click Save again and Command tab to go back to Final
Cut Pro and you will notice it's automatically updated.
| | 06:58 | It has to re-render again but with round-tripping between
Final Cut Pro and Motion, you can really harness the power
| | 07:04 | of both applications without constantly having
to export and import your files between each app.
| | Collapse this transcript |
| Creating drop zones| 00:00 | With the use of drop zones, you really
create some flexibility with your graphics.
| | 00:04 | You can design something once and
give that to a client so they can swap
| | 00:08 | out their own individual footage
anytime they like using that drop zone.
| | 00:12 | So there are two ways to create drop zones.
| | 00:15 | You can design something then change that
object into a drop zone or you can start
| | 00:19 | with the drop zones straight off the bat.
| | 00:21 | I will show you how to do both, but let's get started with
designing something that we can change into a drop zone.
| | 00:27 | If it's not already open we are in the 03_DropZones project.
| | 00:31 | Here you will find the title.
| | 00:32 | I created it using the same awesome footage from Artbeats.
| | 00:35 | Now what we are going to do is add some footage to
the left side of a scene that can easily be swapped
| | 00:40 | out every time the episode title changes.
| | 00:43 | So let's add some footage.
| | 00:45 | In your File browser, navigate to your Media folder,
go to Footage and let's choose Vegas_Flyby_1.
| | 00:54 | Go ahead and drag and drop that right to your project.
| | 00:57 | Drag it towards the left-hand side and let go.
| | 00:59 | Let's scale this down.
| | 01:02 | Notice as I click and drag I am going to hold Shift
and Option down so it scales around the center point.
| | 01:07 | You can scale it to whatever size you like.
| | 01:10 | I am going to stop right about here and now
let's hit the spacebar and see what we have got.
| | 01:20 | Well, this is relatively close.
| | 01:22 | I would like to blend this into
the background a little bit more.
| | 01:25 | So move your playhead back to the beginning and the way I
am going to blend this in, I am going to use an Image mask.
| | 01:31 | Let's go up to Object and choose Add Image Mask.
| | 01:37 | Hit F5 to open up your Layers tab and now you will
notice, there is an image mask on this piece of footage.
| | 01:43 | If you go to the Library, go to Content and
there is a whole section for Template Media.
| | 01:49 | I would like to use the Glass panes.
| | 01:52 | If you notice up here in our Preview
window, you can see there is a black
| | 01:55 | and white representation of what this is going to look like.
| | 01:58 | Let's go ahead and drag and drop this to your Layers tab.
| | 02:02 | Let's position this over top of our Vegas
footage and scale it down just a little bit.
| | 02:11 | Again, holding Shift and Option as we
scale, so it scales around the center point.
| | 02:15 | I want to make sure it completely overlaps the footage.
| | 02:19 | Now turned off the visibility for this
layer and drag and drop the panes Matte
| | 02:24 | into the Image Mask and you notice nothing changes.
| | 02:28 | That's because we need to change our Image Mask settings.
| | 02:31 | So select the Image Mask and hit F7 to open your HUD and
you will notice it's using the Alpha channel as the source
| | 02:39 | for this matte or as you can see the
white boxes are in a black background.
| | 02:43 | So we need to change the Source
Channel from Alpha to Luminance.
| | 02:47 | That way whatever is white will show through
and whatever is black will get cut out.
| | 02:52 | Now go ahead hit your spacebar
and let's see what we have got.
| | 02:58 | This is looking really good but I would like to
blend it just a little bit more into the background.
| | 03:03 | Stop your playback and select your Vegas footage and
just adjust the Opacity down to about 90% in your HUD.
| | 03:11 | Now deselect and hit the spacebar.
| | 03:16 | That's pretty good.
| | 03:17 | I am going to stop playback.
| | 03:21 | So now I want to set up this Vegas
footage so it can be used as a drop zone.
| | 03:26 | So let's say if the episode next time were in New York,
all the person has to do is drag and drop the footage
| | 03:32 | into that drop zone and it will match the new episode.
| | 03:36 | So select the Vegas_Flyby_1 layer and go to your Inspector.
| | 03:42 | Under the Image tab you will notice
there is a check box for drop zone.
| | 03:46 | If you go ahead and check that now it automatically puts
text on your comp telling you that that's a drop zone.
| | 03:53 | Now I don't think that's blatant enough,
so I am going to rename the layer.
| | 03:57 | Go and double click on the text and rename it ADD
FOOTAGE HERE and hit Enter when you are finished
| | 04:06 | and now you will notice it says ADD FOOTAGE HERE.
| | 04:09 | So anytime you have footage with text over top like
this is easily letting you know it's a drop zone.
| | 04:15 | The other dead giveaway when you open the Layers tab, you
will notice the icon is change with this little down arrow.
| | 04:20 | So that's one way of creating a drop zone.
| | 04:23 | The other way of creating of drop zone is to
just start with the drop zone right off the bat.
| | 04:28 | So if you go up to Object and choose New Drop Zone, you
will notice it automatically fills the entire screen.
| | 04:35 | So you can resize this just like any other object
by clicking on the corner and holding down Shift
| | 04:40 | and again I am going to hold Option so it goes around the
center and I will drag that drop zone over towards the left
| | 04:46 | and we can just go ahead and turn off the old drop zone
and if you would like to add a mask it's the same process.
| | 04:53 | Just select your drop zone and go to Object, Add Image Mask
and again, if I want to use the Glass panes I will just drag
| | 05:01 | and drop that right on to the drop zone here and again,
select your mask and change it from Alpha to Luminance
| | 05:08 | and now we have just used a drop
zone straight from the beginning.
| | 05:13 | So now that you know that there are two
different ways of creating drop zones.
| | 05:17 | In our next movie I am also going to show you how
you can change this entire thing into a template,
| | 05:21 | so the editor can not only swap out the
footage, they can change the text as well.
| | Collapse this transcript |
| Creating templates for Motion| 00:00 | So you have your graphic setup with your drop zone
and now you want to actually save this as a template.
| | 00:05 | Well, saving templates in Motion is pretty straightforward.
| | 00:08 | All you do is go up to File and chose Save as Template.
| | 00:14 | The map pops up.
| | 00:15 | It's asking you to type a name for
your template and where to keep it.
| | 00:19 | So let's start at the top.
| | 00:20 | Let's name this CustomTech.
| | 00:23 | I just chose a random name; you
can choose whatever you like.
| | 00:27 | Under Format, since this is HD, let's make sure it says HD.
| | 00:31 | Reason for this is there is browser for your
template, so as long as you have the correct format,
| | 00:36 | when you browse it will be in the correct place.
| | 00:39 | It's probably smart to collect the media
into a folder when you create your template.
| | 00:44 | That way when you go delete your
project, you don't have to worry
| | 00:47 | about it being deleted completely
out of your templates as well.
| | 00:51 | I typically uncheck Include Unused Media; that
way it doesn't copy anything I don't need,
| | 00:58 | and the last one Create QuickTime
Preview, I always leave checked.
| | 01:02 | Now, you think you could hit Save but you really
can't because this theme cannot be modified.
| | 01:07 | So we need to create a New Theme.
| | 01:09 | Click the New Theme button and name your theme.
| | 01:12 | I am going to call mine Ian'sCustomPlates.
| | 01:18 | You can call yours whatever you like.
| | 01:20 | Click Create and now I can click Save.
| | 01:27 | It's going to take a second to copy the media and
now it's actually compressing a QuickTime file
| | 01:32 | so you can get a preview when you
go to browse your templates.
| | 01:39 | So let's check out our template.
| | 01:41 | Go up to File and Open Template.
| | 01:46 | Scroll down to our custom made theme.
| | 01:51 | Mine was IansCustomPlates whatever you named
yours, scroll down to that specific place.
| | 01:56 | It's in alphabetical order.
| | 01:59 | And double-click on your template.
| | 02:03 | So here it is, if you hit F5 and open up your Layers
tab, you'll notice not only do you have your drop zone
| | 02:09 | but your text also remains fully editable.
| | 02:11 | So creating templates cannot only save your time, they can
also help you create a more collaborative work environment.
| | Collapse this transcript |
| Creating templates for Final Cut Pro| 00:00 | So creating templates for Final Cut Pro is the exact
same process as creating templates for Motion. So in the
| | 00:06 | previous movie we already created our template that we can
use for Final Cut Pro. I know it's going to work in Final Cut
| | 00:13 | because if you select your Text layer
| | 00:15 | and go to your Inspector under the Text tab, you'll notice down here
Publish to FCP is already checked by default. So now when I load
| | 00:23 | that template into Final Cut Pro, it will automatically work.
| | 00:28 | So let's go to Final Cut Pro. Next time you have a project
open, go to Sequence and choose Add Master Template.
| | 00:37 | Scroll down to your CustomPlate
| | 00:42 | and choose it
| | 00:43 | and click Open.
| | 00:46 | Now you'll notice when you go to the controls,
| | 00:48 | we have our drop zone where you can just drag your footage right
into the drop zone. And if you want to change your text, double-click
| | 00:54 | and change your text. Same thing with the episode title
that I had here before. Let's go back to the Video layer,
| | 01:00 | you can just drag it and drop it
| | 01:01 | right into your timeline.
| | 01:03 | So Final Cut will use your template
just like any other piece of footage.
| | 01:07 | So templates for Final Cut.
| | 01:09 | Another way to do things fast
| | 01:11 | and increase collaboration.
| | Collapse this transcript |
| Creating DVD Studio Pro menus| 00:00 | So sending your Motion projects from Motion to DVD
Studio Pro is as easy as just saving your file.
| | 00:06 | If you don't already have it open, we are
in the 06 Motion For DVD Studio Pro menu.
| | 00:11 | Let's go up to our Project Properties
under the Edit menu and check our Format,
| | 00:15 | and yes it's set to the same present we have been
using during this entries series, DVCPRO HD 720p24.
| | 00:23 | This is in HD format.
| | 00:24 | You can go ahead and click Cancel, and
go up to File and make sure it's saved.
| | 00:30 | So hit Cmd+Tab and I am going choose
DVD Studio Pro since it was already open.
| | 00:36 | Now, I am in the extended format of DVD Studio Pro; now
all you have to do is click Import to import your project.
| | 00:44 | When you import a Motion project into DVD Studio
Pro, DVD Studio Pro has to change this to MPEG-DVD.
| | 00:51 | DVD Studio Pro has to change the format
of the file from the Motion document
| | 00:56 | to an MPEG-2 if you're using standard def DVDs.
| | 01:00 | So if you notice, there will be an option
here for status and under that it's yellow,
| | 01:04 | meaning it's actually encoding
this footage in the background.
| | 01:07 | To add this footage to a menu,
all you do is drag and drop it.
| | 01:12 | Hold for a second and wait for the pop-up menu to appear.
| | 01:15 | Choose Set Background.
| | 01:17 | Now you notice this footage is squished.
| | 01:20 | So to fix that all you do is click
on your menu and choose the Menu tab
| | 01:26 | and under the Display Mode choose 16x9 Letterbox.
| | 01:31 | Now I know it says Letterbox but when you actually go
to play this back, depends on your DVD player settings
| | 01:37 | as to whether or not it will displayed
Letterbox or in fact Anamorphic.
| | 01:41 | So to preview that just go up to Simulate and under
Resolution leave it SD but change the Display Mode to 16x9.
| | 01:50 | Now, you'll notice it's displaying a full 16x9 image.
| | 01:57 | So let's say you want to make a change.
| | 01:58 | I am doing go ahead and close this.
| | 02:00 | If you want to change your Motion project just go ahead
and Ctrl or right-click on Asset and choose Open in Editor.
| | 02:07 | Now understand, if you make any changes
in your Motion project and click Save,
| | 02:12 | when you jump back to DVD Studio Pro, it will have to
re-import this footage and re-encode it to the MPEG format.
| | 02:20 | So the round-trip process between Motion and DVD Studio Pro
is in fact quite similar to round-tripping between Final Cut
| | 02:27 | and Motion, and it's still affords you the same
flexibility to be able Control-click and bounce back
| | 02:32 | and forth between each one of the projects,
constantly remaining interoperable all most
| | 02:36 | as though they were the same application.
| | Collapse this transcript |
|
|
ConclusionGoodbye| 00:00 | So I hope you've enjoyed taking this course as much as I've
enjoyed teaching it. As you can see, Motion 3 has really
| | 00:05 | blossomed into a very capable application. So the next time you
have to create that quick motion graphic, open Motion and create.
| | Collapse this transcript |
|
|
