IntroductionWelcome| 00:04 | Hi, I'm Ian Robinson.
| | 00:06 | Welcome in Motion 5 Essential Training.
| | 00:08 | In this course I'll show you the ins
and outs for using this real-time motion-
| | 00:13 | graphics application.
| | 00:14 | We will take a look at the different
ways to animate objects in a project using
| | 00:18 | traditional keyframes and Motion's very
own animation tools known as behaviors.
| | 00:23 | We will use the text-design tools to
create graphics as simple as a lower third
| | 00:28 | or complex as a title open.
| | 00:30 | We will learn the finer points of text
animation, like text on path movements
| | 00:35 | and animating individual characters in Word.
| | 00:39 | I'll show you some of Motion's most
exciting features, like replicators,
| | 00:43 | particle systems, and generators, to
create original animated art from scratch.
| | 00:49 | Finally, we'll take a look at how to
animate all of these elements in 3D space.
| | 00:55 | I'm really excited to show you what
Motion 5 is capable of and to share with you
| | 00:59 | some of my motion graphics tips and tricks.
| | 01:02 | So let's get started with
Motion 5 Essential Training.
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| Learning important definitions| 00:00 | In an effort to make sure that
everyone is on the same page as we move
| | 00:04 | throughout this course, in this video
we are going to cover some of the terms
| | 00:10 | that you may not necessarily be
familiar with, and we'll get started with
| | 00:14 | Motion-specific terms.
| | 00:16 | These are terms that are
specific to the application.
| | 00:19 | So the first term I want you
to be familiar with is object.
| | 00:22 | Basically anything that you drop a new
Motion project, whether it's footage or a
| | 00:26 | still image or something that you
create within Motion, like a text or shape,
| | 00:31 | those are all considered objects.
| | 00:34 | Now when you drag things into your
projects they have to inhabit a space,
| | 00:39 | so at the very base level
they are going to inhabit layers.
| | 00:44 | So layers are the containers that
hold all the objects in your project.
| | 00:48 | A group is another
organizational structure above a layer.
| | 00:53 | You can organize multiple
layers together to create a group.
| | 00:57 | This helps for organization within a
project, but it also helps when it comes
| | 01:01 | time to animate because you can animate
all of the elements as one element in a
| | 01:07 | group, or you can animate each
individual layer underneath of the group.
| | 01:11 | Now behaviors are probably the
most important thing in Motion.
| | 01:16 | These are the tools that Motion uses
to create more organic movements in your
| | 01:21 | animations. Rather than creating
animation with keyframes by moving things from
| | 01:26 | point to point, behaviors just play
and you just drag different parameters to
| | 01:33 | see what happens and see what you can create.
| | 01:37 | Now a replicator is something really
neat. Basically anything in your Motion
| | 01:41 | project you can turn into a replicator,
and what this does is it repeats that
| | 01:46 | objects in different forms and shapes.
| | 01:49 | You can repeat patterns, you can
repeat video files, you can repeat still
| | 01:54 | images, all with the replicator.
| | 01:57 | Now the cool thing when you go to
animate a replicator, you have control over
| | 02:02 | everything as one huge group, as well
as finite control over each little copy.
| | 02:08 | Parameters are the values that you
will adjust to create your animation.
| | 02:15 | It's a basic unit of
control for an object or a layer.
| | 02:19 | A rig is something to Motion 5,
and it's a tool used to create editable
| | 02:24 | parameters in a project using widgets.
| | 02:28 | Now editable parameters means a couple
of different things, but basically you
| | 02:32 | can group a bunch of smaller parameters
all together to get controlled by one rig,
| | 02:39 | and then you can save the project out
and actually make Motion media completely
| | 02:46 | integrated and editable within Final Cut Pro.
| | 02:50 | Widgets, since they were referenced by
rigs, are tools used within a rig system to
| | 02:56 | manipulate those parameters.
| | 02:58 | Now each widget has its own separate
function, and we will definitely get
| | 03:02 | to that, but I just want you to understand,
to create a rig, you actually need widgets.
| | 03:09 | Now here are some more common terms that
will actually cover motion graphics in general.
| | 03:14 | A particle system, the easiest way I
like to think of particle systems, other
| | 03:18 | than this very scientific definition,
| | 03:21 | it's an easy way to create a very
organic animation with a small tiny graphic.
| | 03:27 | So for example if I wanted to create
a tornado, I would create a particle
| | 03:31 | system and have one tiny little piece,
and then the particle system would put
| | 03:36 | out thousands of those pieces, and I
would actually have control over things
| | 03:40 | like spin and velocity and how random
all the pieces, are and their size and
| | 03:47 | movement--you get the idea.
| | 03:48 | It's a very interesting way to create an
organic animation out of tiny little pieces.
| | 03:55 | Filters, they are also known as effects,
but basically they alter anything that
| | 04:01 | they are applied to.
| | 04:02 | So for example if I dropped a piece
of video footage into my project, I can
| | 04:06 | apply a filter to make that footage
look more distressed or old, or I could
| | 04:11 | apply a different filter to make it glow.
| | 04:14 | There are many different filters
that create many different looks.
| | 04:18 | Cameras, these are tools to
simulate real-world cameras.
| | 04:23 | Now what's great about this is the
fact that you can defy gravity, you can
| | 04:28 | defy light. You can defy just about
anything that you think you're feeling
| | 04:34 | constrained by in the real world by animating
cameras within the 3D virtual world of Motion.
| | 04:42 | Lights, like I referenced earlier when
I was talking about cameras, these are
| | 04:46 | really kind of nice because they
emulate lights in the real world, but they
| | 04:51 | aren't tied down by all of the
different parameters in the real world.
| | 04:55 | For example, I can create a light and
have an object have a shadow cast from
| | 05:00 | that light, but I can also decide
whether or not I wanted the light to create a
| | 05:05 | shadow in the first place.
| | 05:07 | Some more common terms, one of which
you may have heard earlier, composite.
| | 05:11 | This is a combination of objects,
layers and groups, to use Motion terminology.
| | 05:16 | Now to use general motion graphics
terms, a composite is made up of things
| | 05:21 | like your video layer.
| | 05:24 | So for example if I had somebody that I
shot on a green screen and I eliminated
| | 05:30 | that green background and had that
person just on a transparent layer,
| | 05:35 | I could then superimpose that person on
a background of Kansas and make it look
| | 05:40 | like they are walking through a field in Kansas.
| | 05:43 | When I layer that person over top of
that background video, in essence I'm
| | 05:48 | creating a composite.
| | 05:49 | You can create composites with video layers
or even with just different graphic elements.
| | 05:56 | It's just the process of layering
things together to create one end result.
| | 06:03 | Blend modes, these are
unbelievably useful and helpful.
| | 06:08 | Whenever you're trying to get a
graphic element or a piece of video to blend
| | 06:12 | more smoothly with the elements
underneath, you want to actually look at blend
| | 06:17 | nodes in addition to transparency.
| | 06:20 | See, there are specific mathematic
calculations that help determine exactly what
| | 06:25 | pixels are going to blend and how
they're going to blend, whether they blend
| | 06:29 | based on their luminance or what have you.
| | 06:33 | A key, I made reference to this earlier
when I was talking about green screen.
| | 06:38 | This is a method to remove parts of an
image based on luma, alpha, or color channels.
| | 06:44 | So a green screen key would
remove green out of the image.
| | 06:50 | A matte is a black-and-white
representation of transparency. Whatever is white
| | 06:56 | on the matte will allow you to see that
area in the layer; whatever is black on
| | 07:01 | the matte will then be cut out of that layer.
| | 07:05 | An alpha channel, this is a
fourth channel in an image.
| | 07:09 | It determines the transparency
of that object, layer, or group.
| | 07:13 | It functions very much like a matte;
| | 07:15 | it's just applied to the
fourth channel of the image.
| | 07:19 | It's most commonly used when
you go to export your graphics.
| | 07:23 | If you use a codec like Apple ProRes
4x4, it's going to output an alpha channel,
| | 07:30 | as long as you go in and make sure
and output that with your RGB channels.
| | 07:36 | A mask, it's very much like a matte,
but it's a tool used to hide or reveal
| | 07:41 | parts of an object, layer, or group.
| | 07:43 | Usually you create masks using things
like the Pen tool or Bezier paths.
| | 07:49 | They all allow you to draw specific areas of
the image that you would like to reveal or hide.
| | 07:56 | And finally, the real world. Yes, I'm serious.
| | 08:00 | It's a place you should visit if
you've been stuck behind your computer for
| | 08:04 | extended periods of time, because let's
be honest, folks, how creative can you be
| | 08:09 | if you're stuck in a room 24 hours a day?
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| Using the exercise files| 00:00 | If you're a Premium member of the
lynda.com Online Training Library, or if
| | 00:05 | you're watching this tutorial on a
DVD-ROM, you have access to the exercise
| | 00:10 | files throughout this title.
| | 00:12 | Now, I've downloaded the exercise files
to my desktop, so let's open the folder
| | 00:17 | and see all things are organized.
| | 00:19 | You'll notice it's organized by
chapter and within each chapter folder
| | 00:23 | you'll find project files.
| | 00:25 | Now if you're looking at a chapter and
you realize that it's actually missing a
| | 00:30 | number or two, like here in chapter 1
I'm missing a number 3 project file,
| | 00:35 | technically it's not missing.
| | 00:37 | We just didn't want to include project
files that started from a blank project.
| | 00:43 | Now, there is something else that I have
kind of noticed currently in Motion.
| | 00:47 | On occasion, you may see this, where it's
telling you the media is missing, and it's
| | 00:52 | not giving you a preview.
| | 00:54 | That's not entirely accurate.
| | 00:55 | So just open up the Motion project.
If anything is missing, you will get a menu
| | 01:00 | that pops up and warns
you what files are missing.
| | 01:03 | Now in addition to the chapter folders,
we have a Media folder, and this is
| | 01:07 | where any external media that's not
just built into Motion is currently
| | 01:12 | residing. So any QuickTime files or
Illustrator files that we use in the title
| | 01:19 | we have organized in the media folder.
| | 01:21 | There are even folders in here that
I've used so you can export files as you're
| | 01:27 | working. So when it comes your exercise
files, there are chapters and the Media
| | 01:31 | folder. Anything else you should be
able to create just by following along.
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| Relinking missing media| 00:00 | Okay, on occasion, sometimes when you
open a project, you'll see something
| | 00:05 | that looks like this.
| | 00:06 | You will get this red-and-white checkerboard.
| | 00:08 | And basically, Motion has lost its
connection to a media file that the
| | 00:13 | project is referencing.
| | 00:15 | Now if you open your Layers panel,
look for any layer that has the question mark.
| | 00:21 | Now if you just Control+Click or
right-click on the question mark, you can go to
| | 00:26 | Reveal Source Media to automatically
load up that clip in the Media panel as
| | 00:31 | well as in the Inspector.
| | 00:34 | Now in the Inspector, scroll down
to where it says Linked Objects, and you see it
| | 00:39 | will list exactly everywhere
where that piece of media is used.
| | 00:43 | And underneath, there is a
button to reconnect the media file.
| | 00:46 | So click Reconnect Media File, and in your
browser, navigate to where you think the file is.
| | 00:53 | I just happen to know that I had saved
it to my desktop, so once you find the
| | 00:58 | file, as always, Show
Matching Name Only is selected.
| | 01:02 | That'll be the only file that you
should be able to click on to relink.
| | 01:07 | So to relink, you want to click the Open
button in the lower-right corner, and now
| | 01:11 | it's relinked, and everything is good to go.
| | 01:14 | Now, there is one other time where
sometimes something acts a little funny and
| | 01:20 | things aren't quite relinked.
| | 01:22 | In the Finder, if you scroll down to
where the Motion is, notice the size of the
| | 01:29 | application is 2 gigs.
| | 01:31 | And if you actually right-click
directly on the application icon, you can
| | 01:36 | Show Package Contents.
| | 01:38 | See, in here, this is where Apple has
moved all of the library content that you'll
| | 01:45 | be referencing throughout the course.
| | 01:47 | And on occasion, I've noticed that
sometimes Motion loses its link to some of
| | 01:52 | these content pieces.
| | 01:54 | So to show you what I'm talking about,
I am going to go to my Exercise Files folder
| | 01:58 | and in Chapter 10, I have a
file called Particle_Behaviors.
| | 02:02 | When I open that, notice it's missing the spark.
| | 02:07 | Now I can click Reconnect and it's
automatically going to open up this window,
| | 02:13 | but if I go to Applications and
navigate down to Motion, notice it appears as
| | 02:18 | though I can't find anything.
| | 02:20 | Well, there is a way around this.
| | 02:22 | If you open a Finder window and
navigate to your Applications folder again,
| | 02:26 | right-click on Motion,
and say Show Package Contents,
| | 02:31 | in here we can navigate in the
Contents folder and navigate to our
| | 02:35 | LibraryContent and then navigate to
the Content folder and in here you we
| | 02:40 | will see Particle Images.
| | 02:42 | Now the one that's missing is Spark 11.
| | 02:46 | So I am going to scroll down until I
find Spark 11. Okay, there it is. And now
| | 02:53 | if you drag it and drop it up into the
search window up here, notice now it
| | 03:00 | will link to that file.
| | 03:01 | It's just because the Content folder
is zipped underneath the application
| | 03:06 | that you can't navigate to it natively this way.
But now that we've dragged and dropped it,
| | 03:11 | we can click Open, and voila!
| | 03:14 | Our particles are relinked.
| | 03:16 | Now, if I save this project, this
link will forever be set up on my system.
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|
|
1. Getting StartedLaunching Motion for the first time| 00:00 | The first time you launch Motion, it
shows you quickly that it is very much
| | 00:05 | an Apple application.
| | 00:06 | See, with many Apple applications,
like Pages or Numbers, there is an
| | 00:10 | intermediary window that gives you the
shortcuts to all kinds of information
| | 00:15 | that you may find helpful as you're
first getting started with the application.
| | 00:20 | In Motion, this window is
called the Project Browser.
| | 00:23 | So if we look at the Project Browser
here, you'll notice it has three main
| | 00:29 | sections and much like many things in life,
| | 00:32 | it works from left to right.
| | 00:35 | Now let's start on the left section
here, and you'll notice there are areas for
| | 00:40 | blank projects, like a Motion Project or
a Final Cut Generator, and don't worry,
| | 00:46 | you'll understand exactly what these
things are as we move through the course,
| | 00:50 | but for now, let's focus on how this works.
| | 00:54 | There's Recent projects, so any
projects you've had recently open.
| | 00:58 | Compositions, these are pre-built
projects, and if you click on any one of them,
| | 01:05 | you'll see the example
pop up over here on the right.
| | 01:09 | Now if you're not seeing these, you
need to run Software Update on your system
| | 01:14 | and make sure that the Motion-added
assets are in your software update. As long
| | 01:21 | as you've bought the app through the
App store, the next time you run software
| | 01:25 | update, it should be there.
| | 01:27 | Now I like using these different
templates as inspiration and also things to
| | 01:34 | look at to reverse engineer so I can
see how they were built and then use
| | 01:38 | those techniques on my own projects.
| | 01:41 | So for now, let's jump back up to the
Blank area here and select Motion Projects.
| | 01:48 | If we look on the right-hand side here,
this is how we can determine exactly
| | 01:53 | what settings we'll be using
for our blank Motion projects.
| | 01:57 | So if you click on Preset, there are
all kinds of presets, both standard def
| | 02:02 | and high definition.
| | 02:04 | I'll choose Broadcast HD 720.
| | 02:07 | Next is the Frame Rate. You want to
make sure to choose your frame rate before
| | 02:12 | you create your projects, because this
is one of the few parameters that you
| | 02:15 | can't go back and change
within a project once you've chosen it.
| | 02:19 | So I'm going to choose 29.97.
| | 02:21 | Next, we can set the duration of the project.
So let's say I want this to be five seconds.
| | 02:27 | I'll just type 500 and press Tab.
That way it'll set the duration without
| | 02:33 | actually opening the blank Motion project.
| | 02:36 | Now over here you can specify whether you
won't see timecode, actual seconds, or frames.
| | 02:43 | So let's switch it back to Timecode
and make sure we set five seconds as our
| | 02:48 | duration, again pressing Tab.
| | 02:51 | Now when I click Open,
it's going to launch Motion.
| | 02:54 | Now every time I launch Motion after this,
this Project Browser is going to keep popping up.
| | 03:00 | So once we click Open, what I want
you to do is go up under your Motion >
| | 03:05 | Preferences, and in Preferences, go
to the Project section. And For New
| | 03:10 | Documents, instead of choosing Show Project
Browser, I want you to choose Use Project.
| | 03:16 | Now mine says Motion Project Broadcast
HD, because I've already done this once;
| | 03:21 | yours might be empty.
| | 03:23 | So just click the Choose button and
then sure enough we'll see our project
| | 03:28 | browser again, and in here just
choose exactly what you would like Motion
| | 03:33 | to automatically launch every time you open it.
| | 03:35 | So I'm going to Blank again and choose
Blank Motion Project, and we'll have HD
| | 03:41 | 720, 29.97, five-second duration is fine,
and we can go ahead and click Open.
| | 03:48 | Now when we close our Preferences
anytime in the future when we launch Motion
| | 03:53 | we won't see the Project Browser,
unless of course we go back and change that
| | 03:57 | preference again, or choose
File > New From Project Browser.
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| Navigating the interface| 00:00 | Much like sitting in the driver's
seat of a well-designed sports car,
| | 00:03 | the interface of Motion is well thought
out and most of the important tools and
| | 00:07 | features are easily accessible
with just a few clicks or a keystroke.
| | 00:11 | So to show you what I mean, let's look
at just how easy it is to learn and, more
| | 00:15 | importantly, remember some of
the shortcuts for the interface.
| | 00:19 | Now, since this is a Mac, we want to
make sure to enable a feature in our
| | 00:23 | System Preferences.
| | 00:24 | So if you go up under the Apple menu,
in System Preferences, go to the Keyboard
| | 00:29 | section, and make sure that you have
Use all F1 and F2, etc., keys as standard
| | 00:34 | function keys selected, so that way
when you go use the function keys, they
| | 00:38 | don't accidentally use some other
feature within the operating system. Okay.
| | 00:43 | Now, that that's set up,
let's look at the interface,
| | 00:46 | and you will notice Motion is
primarily divided up into two sections.
| | 00:50 | On the left over here, this used
to be known as the Utility window.
| | 00:54 | Now it's just the left side of
the interface that contains all of
| | 00:57 | these different options.
| | 00:59 | Now, if you're using Motion from the
previous version, you'll notice the
| | 01:03 | interface is all self-contained in one box.
| | 01:06 | It's pretty nice. But all the
key commands remain the same.
| | 01:09 | Now, if you're new to Motion, to
learn the key commands it's pretty simple.
| | 01:13 | Go up under the Window menu, and down
under Show Inspector notice we have F
| | 01:18 | keys mapped, 1, 2, 3, 4, and then we have
5, 6, 7, 8, and sure enough, Command keys, 1-9.
| | 01:27 | Now the way I like to think of whether
I'm going to use an F key or a Command
| | 01:31 | key, typically I use an F key when I
want an open section of the project,
| | 01:36 | whereas I use the Command keys to jump
directly to one of these different tabs.
| | 01:42 | So let's start with the file
browser over here on the left-hand side.
| | 01:45 | Notice this is an integrated File
Browser within the Motion application, so
| | 01:51 | anything that I select here, I can
navigate those folders down here.
| | 01:56 | The next tab over we have the
Library, which we will definitely get more
| | 01:59 | into, but this is basically an area with a
bunch of presets that you can use for your projects.
| | 02:06 | The Inspector is kind of contextual,
and basically it works based on whatever you
| | 02:10 | have selected in your project.
| | 02:13 | So here I clicked and selected
something that was called a replicator, and
| | 02:17 | notice this tab automatically popped up.
| | 02:20 | Anything that you have selected has
properties applied to it and sometimes
| | 02:24 | behaviors, if a behavior was
applied, or sometimes filters.
| | 02:28 | Now, to better see the project
what you want to do is press F5.
| | 02:32 | This will open the Project panel,
and here you'll notice we have Layers, a Media
| | 02:38 | section, and an Audio section.
| | 02:41 | Now, just to cover our key commands
really quickly, let's press Command+1 and
| | 02:46 | you notice that takes us
right to the File Browser.
| | 02:48 | If you press Command+2, Library;
| | 02:50 | Command+3, Inspector;
| | 02:53 | Command+4, the Layers panel; 5, the Media tab;
| | 02:56 | 6, Audio. Okay.
| | 02:58 | So it's pretty straightforward.
It takes you right across, 1-6.
| | 03:01 | Now, if you press F5,
that's what opened the Project panel.
| | 03:08 | If you press F6, that will open the
Timing pane, or you can go up under Window
| | 03:13 | and choose Show Timing Pane.
| | 03:15 | Now, you notice there
aren't tabs for the Timeline.
| | 03:19 | It's kind of interesting the way this works.
| | 03:21 | You can see everything in your project
as far as its time that it appears in the
| | 03:25 | project based on this Timeline.
| | 03:27 | So the way the Timeline
works is from left to right.
| | 03:31 | And this thing that I'm
clicking on right here is the playhead.
| | 03:34 | And notice as I click and drag
this object up here is also moving.
| | 03:38 | These are the same things.
| | 03:40 | See, the way the interface is designed,
we have the Timeline as well as this
| | 03:45 | area here called the Mini Timeline.
| | 03:47 | See, whatever I have selected down here
will also appear in the Mini Timeline.
| | 03:51 | What this allows us to do is actually
work in the animation without always
| | 03:56 | having to have the Timeline window open.
| | 03:58 | See, this is important, because Motion
is designed to function in real time,
| | 04:01 | and in order to have the most optimum
performance, you don't necessarily always want
| | 04:06 | to have the Timeline open.
| | 04:08 | Most of the time when I work, I just
have my Project panel open, set to layers,
| | 04:12 | and I have the Timeline hidden by pressing F6.
| | 04:17 | Now, there are other areas within the
Timing pane, and those areas are the
| | 04:22 | Keyframe Editor and the Audio Timeline.
| | 04:28 | Now, if we had audio in the project,
you would see it pop up down here in
| | 04:31 | the bottom of the comp.
| | 04:33 | Now that we've covered the panels and
the Timing area, I want to show you some
| | 04:37 | of the more intricate
things within the interface.
| | 04:40 | So I am just going to press F5 to close my
Project panel and F6 to close my Timing pane.
| | 04:46 | This is usually how I work within Motion.
| | 04:49 | See, this way I can see exactly what's
happening in the application as far the
| | 04:53 | animation by pressing the spacebar,
and you'll notice I get playback down here.
| | 04:58 | This is called the Timing window.
| | 05:00 | This shows me exactly where my playhead
is, and it also shows me the length of
| | 05:05 | the composition, and a couple of other things.
| | 05:07 | If you go to this little arrow in the
lower right, if you click on it, notice I
| | 05:12 | have several options:
| | 05:14 | I can view my time as frames;
| | 05:17 | I can view my time as timecode;
| | 05:20 | I can also view the Current Time,
which is where the playhead is currently in
| | 05:24 | the Timeline; or the overall Project Duration.
| | 05:27 | So notice this project is only five seconds.
| | 05:29 | And you can quickly toggle back and
forth between Project Duration and the
| | 05:34 | Current Time Indicator just by clicking
this button, and you'll notice how the
| | 05:37 | icon changes down here.
| | 05:39 | Now, when you have objects selected in
your project, you can either select them
| | 05:45 | through your Layers panel--
| | 05:47 | I just pressed F5 to open that up--
| | 05:49 | you can click directly on an object
in the layers panel, or you can click
| | 05:54 | directly on that object in the Canvas.
| | 05:57 | Just understand, sometimes when you're
clicking in the Canvas, if there's an
| | 06:00 | object that takes up a large amount of
space, it may just automatically assume
| | 06:03 | that you are trying to select that
larger object, as opposed to something smaller
| | 06:08 | like these individual circles here.
| | 06:10 | So when you have an object
selected in the Layers panel, you can make
| | 06:14 | adjustments in your Inspector.
| | 06:17 | So here when I click on the Inspector,
notice under the Properties section I
| | 06:21 | have a property for Position and
Rotation, as well as Scale, Sheer--you get the
| | 06:27 | idea. There are a bunch of different parameters.
| | 06:29 | Now, if I want to adjust these
parameters--let's say I want to adjust Scale--
| | 06:32 | I can just click on the slider and drag
it to the right to scale this up or drag
| | 06:37 | it to the left to scale it down.
| | 06:39 | Notice if there is a disclosure
triangle, you can get to the individual
| | 06:42 | parameters of an object.
| | 06:44 | So let's say I wanted to
make this more of an oval.
| | 06:47 | I could do that just by
adjusting the X and the Y.
| | 06:50 | Now, this button over here creates
keyframes, which I will definitely show you
| | 06:54 | as we move forwards, but another way
of adjusting parameters, as opposed to
| | 06:58 | clicking on one of these sliders, is by
clicking directly on the number itself
| | 07:04 | and dragging with your mouse.
| | 07:05 | We just click and drag.
| | 07:06 | Another way, if you just click once to
select it, anytime your mouse is over
| | 07:11 | top of that value, if you use your
scroll wheel to scroll up and down, that
| | 07:15 | will change that value.
| | 07:16 | Now, the last thing I want to show you
about the interface, and it's kind of
| | 07:20 | important, is the HUD.
| | 07:23 | See, whenever I have an object selected,
sometimes I don't necessarily want to
| | 07:26 | have to come over to the Inspector
under the Properties. And to open the HUD,
| | 07:31 | you just have to press F7.
| | 07:33 | Notice in the HUD I have some of the
different options, like the opacity of the circle.
| | 07:39 | Notice as I make this adjustment, it's
adjusting the opacity down here in the
| | 07:43 | Blending section of the interface.
| | 07:46 | Now, I have all of these different
options, but obviously if I want more options
| | 07:51 | I can click on this
button right here for the I.
| | 07:55 | If I click on I, it opens up the
Inspector, which, as you can see, is already open.
| | 08:01 | So let me go ahead and close the
Inspector, and I will do that by pressing
| | 08:05 | Command+3 on my keyboard.
| | 08:07 | I knew that because this is
Command+1, Command+2, Command+3.
| | 08:11 | See, whenever you hit the same key
command more than once, it toggles the
| | 08:15 | visibility of that area.
| | 08:17 | So with the Inspector closed, if I had
the HUD open and I decided I wanted to
| | 08:22 | change some of the parameters,
I would click the I button and it would
| | 08:25 | automatically open the Inspector.
| | 08:28 | Now, in here for each individual
object, like I said earlier, there is a
| | 08:32 | Properties area of the Inspector.
| | 08:34 | If you had any behaviors applied, you
would see that here--or filters--and then
| | 08:38 | this menu here will change
depending upon the object you have selected.
| | 08:42 | So for example, right here I have a shape
selected, so it's showing me Shape options.
| | 08:48 | If I selected this text layer here,
now it's showing me Text options.
| | 08:53 | If I select a filter here, notice it
just gives me the options for the group
| | 08:57 | that this filter was applied to.
| | 09:00 | Now, if you're unfamiliar with
layers or groups, don't sweat it.
| | 09:03 | We're definitely getting to that in the next
chapter. But for now we're finished with HUD.
| | 09:07 | Now, rather than pressing F7, I want
to show you this one other thing in the
| | 09:11 | interface down here, the toolbar.
| | 09:13 | Right next to the Timing window is
this button here, and if I click on this,
| | 09:17 | this will hide and show the HUD.
| | 09:19 | Now, notice there are plenty of
other buttons in the toolbar, and we will
| | 09:22 | definitely learn about those as we
continue on throughout this course.
| | Collapse this transcript |
| Creating and transforming objects in the Canvas| 00:00 | If you've ever been onstage, you know
that where you are on the stage is just
| | 00:04 | as important as what you're performing onstage.
| | 00:06 | So when it comes to creating your
projects in Motion, think of the Canvas as a stage.
| | 00:11 | And when it comes to creating and
transforming objects, Motion has a couple of
| | 00:15 | different ways to help you move your
objects around in both 2D and 3D space.
| | 00:20 | Now in this video we're going to
focus primarily on the 2D for now,
| | 00:25 | so to get started let's actually create
an object. We can do that right here
| | 00:29 | in the center in the toolbar. And if
you click and hold on the Rectangle,
| | 00:34 | you'll see we could create a
rectangle, a circle, or a line.
| | 00:37 | I'll just go ahead and
create a rectangle for now.
| | 00:40 | Now if that tool selected when I move
my mouse over the Canvas, you'll notice
| | 00:44 | I get the crosshairs.
| | 00:46 | This way I can see precisely where I'm
going to be placing my rectangle object.
| | 00:50 | Now in order to create this,
I just need to click and drag.
| | 00:53 | If I hold down Shift as I drag, I can
create a perfect square; or if I just let
| | 00:59 | go, I can create a rectangle.
| | 01:02 | So for now, I just want to go ahead
and create a rectangle, and I'm going to
| | 01:06 | create kind of a vertical rectangle.
| | 01:08 | And when you let go over your mouse
you'll notice in the Layers panel you'll see
| | 01:12 | we have our rectangle here under
Group as well as in the Timeline.
| | 01:16 | Now I don't need either the
Layers panel or the Timeline right now, so I'm just
| | 01:22 | going to go ahead and press F5
and F6 to hide those accordingly.
| | 01:26 | Now make sure to grab your
selection arrow and select the rectangle.
| | 01:32 | Notice once I select the rectangle ,you'll see
these dark circles around the outside edges.
| | 01:37 | Also, you'll get this
crosshair with a very thin white line--
| | 01:41 | I know it's kind of hard to see--
| | 01:42 | that goes out to this other white handle.
| | 01:45 | See this line lets me know exactly
where the anchor point of this object is
| | 01:49 | going to be. And if you come out to
the right where this circle is, this will
| | 01:53 | actually allow you to control the rotation.
| | 01:55 | So if you click and drag, notice I can
rotate on the object. And if you look in
| | 02:00 | the upper-left part of the Canvas
you'll see Rotation actually updating, letting
| | 02:05 | me know exactly how many degrees of
rotation I'm actually rotating this object.
| | 02:10 | Now, notice I can drag out really wide
or really closely and it's really not
| | 02:15 | changing anything as far as
how the rotation function works.
| | 02:19 | It's just allowing me to create a more
sensitive rotation or something that's a
| | 02:24 | little bit more forgiving.
| | 02:25 | So if I hold down Shift as we start moving,
notice it will snap in 45-degree increments.
| | 02:32 | Now I don't necessarily want to rotate
this, so I'll just let go for now. And if
| | 02:39 | your rectangle didn't stay
straight, just press Command+Z to undo.
| | 02:44 | Now this little circle right here,
kind of like this little piggy,
| | 02:48 | this little circle right here
doesn't go all the way home.
| | 02:51 | It rounds the edges.
| | 02:52 | So if you click and drag towards the
center, notice it will round the edges of
| | 02:56 | this rectangle, and that's actually
kind of a look that I'm going for.
| | 03:01 | Over here in the corners, these are
bounding control points. So now if I click
| | 03:08 | and drag in one of the corner control
points notice again in the upper-left part
| | 03:12 | of the Canvas I can see the exact width
and height adjustment that I'm making.
| | 03:16 | And again if I hold down Shift, I can
keep things in proportion, but notice it
| | 03:21 | only keeps in proportion based
on once I press the Shift button.
| | 03:27 | So if you want to make sure to scale this
in proportion--I'm just going to undo that--
| | 03:31 | make sure to hold down Shift
before you click on the corner.
| | 03:35 | That way when you scale it up and
down, it stays perfectly in proportion.
| | 03:39 | Now we know how to rotate,
we know how to scale,
| | 03:41 | we know how to disproportionately
scale; but how do we actually make an
| | 03:46 | adjustment where let's say I want
this one corner to stretch out over here?
| | 03:51 | Well, it's pretty simple.
| | 03:52 | All you have to do is Ctrl or
right-click on one of the anchor points.
| | 03:55 | And sometimes you may end up with
this menu that pops up. Don't panic; just
| | 03:59 | reselect the object and try it once more, okay.
| | 04:03 | So when I Ctrl+Click right on that point,
now here I get a whole bunch of other options.
| | 04:08 | I can transform this in 3D.
| | 04:10 | I can adjust the anchor point, the drop shadow.
| | 04:13 | I can do a distortion.
| | 04:15 | So let's go ahead and click on Distort.
| | 04:17 | Now notice the edges look slightly
different; instead of circles we have squares.
| | 04:22 | So if I click on one of the squares,
now notice I can get this cool kind
| | 04:26 | of distortion effect.
| | 04:27 | So again, if you just Ctrl+Click on any
one of these points, you can open this
| | 04:32 | menu back up again and transform
things in a slightly different manner.
| | 04:37 | Now I just want to go back to the normal
Transform options, and notice here I can
| | 04:42 | still rotate around my anchor point.
| | 04:45 | So how do I actually move the anchor point?
| | 04:48 | Let me just Command+Z undo that.
| | 04:51 | To move the anchor point, if you click
and hold on the Transform tool, you'll get
| | 04:56 | all those other options that we had by
Ctrl+Clicking on the control handles,
| | 05:02 | but the one we want to adjust is Anchor Point.
| | 05:05 | Now once I've selected that, notice I
get the X, Y, and Z control handles.
| | 05:10 | If I click directly on one of these axis,
notice the anchor point moves only on
| | 05:16 | that one axis. If I just click right
into the circle here, I can move freely.
| | 05:21 | And notice Motion is kind of smart.
| | 05:24 | It realizes well since you've
distorted the shape, the anchor point's center of
| | 05:28 | this object would be right about here.
| | 05:30 | So it will snap to out where that new
anchor point is, if I just click and drag.
| | 05:36 | So once you have that set, make sure to
click back on your Anchor Point tool and
| | 05:40 | reselect your Transform tool.
| | 05:43 | That's just good practice, so you don't
accidentally start moving anchor points
| | 05:46 | around as you start selecting other objects.
| | 05:49 | Now like I said, we can transform
objects in 3D space, but that's something
| | 05:54 | we'll get into a little bit later.
| | 05:56 | So like many of the movies in this
chapter, this is just the tip of the iceberg,
| | 05:59 | as there is plenty more to learn.
| | 06:01 | But using these key tools should be
more than enough to get you started moving
| | 06:05 | things around and
distorting your objects in Motion.
| | Collapse this transcript |
| Controlling the Timing pane| 00:01 | Motion is a great tool to design in,
but where it's most fun is when you get things moving.
| | 00:05 | In order to properly get things going,
you should have a healthy understanding
| | 00:09 | of just how to control
timing with the Timing pane.
| | 00:12 | So if you don't already have it
opened, press F6 to open the Timing pane.
| | 00:17 | In here, you'll see I have a Circles layer
| | 00:20 | that actually has the word STRETCH, as
well as 3 circles, and I also have a
| | 00:27 | Background_Video layer which
contains our Railing video.
| | 00:31 | So let me just deselect everything and
press the spacebar to begin playback.
| | 00:36 | As you can see, I've got this kind of
cool, funky, rack-focus-thing going on here.
| | 00:40 | What we want to do is focus on a
certain section of this video, maybe right
| | 00:46 | around two seconds here, and I want
these three circles to pop on and then have the
| | 00:50 | word STRETCH pop on.
| | 00:53 | So in order to trim a layer within the
Timing pane, you want to have that layer
| | 00:56 | selected and then press I to
trim the in point for that layer.
| | 01:02 | Now since I want these to go in sequence,
what I want to do is actually work backwards.
| | 01:07 | So I'll select my playhead, move it back
in the Timeline just a few frames here.
| | 01:12 | And I can also trim a layer just by
clicking on the left-hand side, and notice
| | 01:17 | it'll snap, and I get this nice in
and out point contextual menu telling me
| | 01:22 | exactly what's going on.
| | 01:23 | If I want to move my playhead back
without clicking on it, I can click right
| | 01:27 | here in the Timing window.
| | 01:29 | Now, if you double-click and then type
-10, notice the playhead moves backwards
| | 01:35 | in the Timeline 10 frames.
| | 01:37 | Now, I'll make sure I have Circle 3 selected,
and I can press I to trim that in point.
| | 01:41 | If I press Home to move my playhead to
the beginning, I can go ahead and press
| | 01:45 | play and see what's going
on here. One, two, three,
| | 01:49 | okay, perfect!
| | 01:50 | So I have my three circles actually
appearing, and now I want my type to appear.
| | 01:55 | So to move the type down, all we have
to do is click on the word STRETCH and
| | 02:00 | press I. Now what this did is
actually trim the in point.
| | 02:05 | To show you the difference between
trimming and sliding, let's go ahead and make
| | 02:09 | an adjustment to our Background_Video layer.
| | 02:11 | Select the Railing_Rack layer,
and let's just move our playhead back here
| | 02:16 | to around one second.
| | 02:17 | Now, notice this section of the video right
here near my anchor point is rather sharp.
| | 02:23 | If I go ahead and press I,
I've trimmed the in point of my layer.
| | 02:27 | Notice it's still sharp.
| | 02:29 | So let me just Command+Z to undo that.
| | 02:31 | To slide a layer, what you want to do
is hold down Shift and then hit the
| | 02:35 | left bracket key, which is just to
the right of the letter P. Now, notice
| | 02:40 | this area is nice and blurry, because that's
my original first frame for this video layer.
| | 02:45 | So I slid the layer down instead
of actually trimming the in point.
| | 02:49 | So now if I press the spacebar from this point,
I have my circles and then my type appear.
| | 03:01 | So now that you know how to trim and
slide the in points of layers, let's talk
| | 03:05 | about the out point.
| | 03:06 | It's pretty straightforward.
| | 03:08 | If I want to change the out point for
any layer, just go ahead and select that
| | 03:11 | layer and instead of pressing I
for in, you want to press O for out.
| | 03:15 | You can do this in real time
in addition to actually just doing it with
| | 03:19 | the playhead stopped.
| | 03:21 | So here I am going to play back and
then press O. So as you can see, I trim the
| | 03:27 | out point for the circle.
| | 03:28 | Now, to slide, instead of the left
bracket, you want to hold down Shift and
| | 03:32 | do the right bracket.
| | 03:33 | So I think you get the idea
between trimming and sliding.
| | 03:37 | So last thing, I just want to show you
some little things about the interface in
| | 03:41 | the Timeline as you are viewing your media.
| | 03:44 | Notice anytime I select any of these
layers, the Mini Timeline changes up here.
| | 03:50 | That's just showing me the layer
that I have selected, and the timing for
| | 03:54 | that individual layer.
| | 03:56 | I can also select the group for an
overall layer, and the group can have a
| | 04:01 | different time from the sublayer.
| | 04:03 | So let's say I move this Video layer
back, notice the top layer moves with it.
| | 04:09 | I know I said it can have a different
time, but that's really only when you have
| | 04:13 | more than one object within the layer.
| | 04:16 | So for example, if I move up to my
circles, that's really only if you have more
| | 04:20 | than one object within the group.
| | 04:22 | So if I move up to my Circles group here,
I can slide it back to the left, and
| | 04:27 | now you notice I can move the
start point of the different layers,
| | 04:31 | but notice the in and out point is
actually going to slide according to the one
| | 04:38 | that's furthest to the
left or furthest to the right.
| | 04:43 | So, sliding and trimming groups is
slightly different than sliding and trimming
| | 04:47 | individual objects within
the layers within a group.
| | 04:51 | Now since I've gone ahead and changed
absolutely everything and it's all sort
| | 04:55 | of messed up again, what I am going to
do is actually focus on that one section
| | 05:01 | of the video and re-time everything again.
| | 05:03 | So you can actually set the playback
to only play back a certain section of
| | 05:08 | video pretty quickly and
easily by adjusting the play range.
| | 05:11 | Now, just like trimming the in and out
points by clicking on the left or right
| | 05:15 | side of a piece of media, I can adjust
the play range by clicking directly on
| | 05:21 | this little arrow here
that's pointing to the right.
| | 05:24 | That will move the in point of my play
range. And then I can do the same thing
| | 05:28 | here with the out point.
| | 05:29 | Now, if I want my play range to move
based on a key command, I can go ahead
| | 05:34 | and position my playhead and then
hold down Command+Option+O to set my out
| | 05:40 | point, and then if I move my playhead again,
I can do Option+Command+I to move my in point.
| | 05:47 | Now, when I press the spacebar,
I'm previewing only that one section.
| | 05:52 | So here, very quickly, I can move my
playhead back to the beginning of the play range,
| | 05:57 | select the Circle, press I, and just
use the spacebar to begin and stop
| | 06:02 | playback. Here I could move the next one,
press I, I. I can do this in real time as well.
| | 06:17 | Perfect!
| | 06:19 | So remember, if you need to adjust the
timing of the objects in your project,
| | 06:23 | or just navigate the Timeline, the
Timing panel and the Timing Window have you covered.
| | Collapse this transcript |
| Setting essential preferences| 00:00 | Preferences are just that, your
preference for how Motion should function.
| | 00:07 | And of course everyone has their own
opinion, but as someone who has been using
| | 00:10 | Motion since version one,
I definitely have some tips for you.
| | 00:13 | And I know sometimes the thought of
changing preferences can be a little scary
| | 00:17 | since they do change how
the app actually functions.
| | 00:21 | Don't worry, when we were done with
this, playing around with your preferences
| | 00:24 | would be fun and maybe even a happy experience.
| | 00:27 | So to access your preferences
go up to Motion and choose Preferences.
| | 00:33 | So as you can see, there are quite a few
options here, but let's focus on some of
| | 00:36 | the key specific areas.
| | 00:38 | First thing: at startup when you first
start Motion do you want it to create a
| | 00:42 | new project or open the
last project you had working?
| | 00:46 | I typically like to have the last
project set up on my machine, but for now I'm
| | 00:51 | just going to leave Create New Project setup.
| | 00:54 | Now look all the way down to the
bottom in this Media section here.
| | 00:57 | Notice Automatically
manage unused media is selected.
| | 01:02 | Those of you who like to actually go
ahead and collect a bunch of media into
| | 01:06 | your project before you actually ever
drop it into the Timeline, you should
| | 01:10 | deselect this option.
| | 01:12 | Now, if you're the kind of person that
only adds things as they need it then
| | 01:16 | leave this button checked, because
basically what this does, anytime you delete
| | 01:21 | something out of your Timeline, if it's
of no use in your project anymore, Motion
| | 01:26 | is automatically going to
delete out of your project.
| | 01:28 | Now does that mean it's going
to delete off the hard drive?
| | 01:30 | No, it just means that it's deleting it
out of this individual project that you're
| | 01:35 | working on at this specific time.
| | 01:37 | So let's jump over to the Appearance
section. In here this is where you can set
| | 01:41 | up your Timebar display.
| | 01:43 | Right now, I have it set
up for Name Plus Thumbnail.
| | 01:46 | I could also set it up for Filmstrip.
| | 01:49 | So let's scroll down here,
so you can see my video here.
| | 01:52 | Let me open it up so you can actually see
the video layer. Let's change that to
| | 01:57 | Filmstrip, and here now you can see
each of the frames for each piece of my
| | 02:01 | video, and it actually does something
kind of cool with the graphics too.
| | 02:04 | So you can see it's repeated
the circle as well as the type.
| | 02:08 | Now typically, I like to just leave this
as Name Plus Thumbnail because it's a
| | 02:13 | little less processor intensive.
| | 02:15 | Now up here in the top of your Canvas
you may remember as we're removing things
| | 02:19 | around I was getting an
update as to what was going on.
| | 02:23 | That was because I had
Dynamic Tool Info selected.
| | 02:26 | That's on by the default.
| | 02:28 | But those of you who are hardcore into
your color or specific coordinates in
| | 02:32 | your Canvas, you want to go ahead
and select those options as well.
| | 02:37 | You can choose to display your color as
RGB, RGB (Percent), or have the actually
| | 02:42 | Hue Saturation Value.
| | 02:44 | Now let's move on to Project section.
| | 02:46 | This is where you can set
your Default Project settings,
| | 02:49 | so anytime a new project get started
you could have it let's say have a project
| | 02:53 | duration of 5 seconds instead of 10.
| | 02:55 | You can choose a different background
color, and I don't know if you remember,
| | 02:59 | but this is where we had the
Project Browser get turned off.
| | 03:03 | Now those of you who haven't followed
along, you may have this Show Project
| | 03:07 | Browser selected. Don't panic. If it is,
| | 03:09 | that's perfectly fine.
| | 03:11 | Just every time when you start Motion
the Project Browser is going to pop up.
| | 03:14 | If you want to turn that off, go and
select this Use Project and then choose a
| | 03:19 | specific project that you
want to have Motion open.
| | 03:22 | Now, if you're unfamiliar with exactly
what I'm talking about, go back and watch
| | 03:25 | the "Launching Motion for the first time" video.
| | 03:28 | Now one of the first things that I
always change in all of my Motion projects,
| | 03:32 | and I'm going to do this now for
the rest of the course--pay special
| | 03:35 | attention--Create Layers At.
| | 03:38 | This is something that drives me
absolutely up the wall, because I have a
| | 03:42 | tendency to start playback and stop
playback and then decide, oh wait, I want
| | 03:45 | to add a new graphic.
| | 03:47 | Well, the problem with that, if I go
ahead and let's say move my playhead down
| | 03:52 | the Timeline here, and I want
to go ahead and create a square.
| | 03:56 | I'm just going to drag that out.
| | 03:58 | Notice as I created the rectangle here,
even though it's in a square shape,
| | 04:03 | it actually is starting at the
start point of my playhead.
| | 04:07 | Now this would be fine if I were working
in a linear fashion through the Timeline,
| | 04:12 | but my brain has a tendency to jump
around, so for me, I like to actually have
| | 04:17 | this set up where it creates
layers always at the start of a project.
| | 04:22 | That way whenever I go to create a new
object, it's automatically going to start
| | 04:27 | that layer at the start of a project.
| | 04:29 | Now, there are couple more
preferences I want you to check out, and then
| | 04:33 | we'll wrap things up.
| | 04:34 | Time, this is where you can set
whether you want your display as timecode or
| | 04:39 | frames, and if you're working in a
workgroup, you can set your frames to start
| | 04:44 | from 1 or from 0, just so
you can match everybody else.
| | 04:49 | Down here, this is kind of important,
if you have a system that isn't the most
| | 04:52 | powerful in the world, sometimes
you'll need to make sure that Motion can
| | 04:56 | actually keep up if it's trying to
play both the video and the audio.
| | 05:01 | So you can tell Motion to skip video
frames during playback or actually just
| | 05:05 | pause the audio playback.
| | 05:06 | That's entirely personal preference.
| | 05:09 | Down here under Keyframing, it's
really important, pay attention to
| | 05:12 | these options here.
| | 05:14 | By default, neither have been are
selected, but if you find as you're moving
| | 05:18 | keyframes in the Timeline, if you find
that things are shifting, you might want
| | 05:22 | to actually lock the keyframes in time.
| | 05:25 | That way you can make adjustments to
how the interpolation happens between the
| | 05:29 | keyframes, but you can't actually
move them up and down the Timeline.
| | 05:32 | And if you've got really, really
precise animations, you can actually allow
| | 05:36 | for subframe keyframing, meaning you
can have a keyframe that actually lies
| | 05:40 | in between two frames.
| | 05:42 | I really don't like that, but it's
definitely an option if you need that precision.
| | 05:47 | For Cache, I usually just leave all of
these preferences their default, unless
| | 05:52 | I'm on a system that has more than
one hard drive. Then I like to set up my
| | 05:56 | Autosave to a separate hard drive
as well as my Optical Flow Retiming.
| | 06:01 | What this does, as you're retiming
objects in your project, it will actually
| | 06:07 | create cache files so Motion doesn't
have to try and speed up or slow down in
| | 06:11 | writing those files.
| | 06:12 | It will just write it once and save it off to
cache until the next time you make that change.
| | 06:18 | Feel free to explore the rest of these
options from Canvas to 3D to Presets on
| | 06:24 | your own time, but for now you should
have the confidence to know some of the
| | 06:27 | most key features that you will want
to be changing. In the future, you'll
| | 06:32 | know you don't need to hesitate if
you need to change things up with your
| | 06:35 | Preferences. Who knows, you might end
up actually working a little bit faster.
| | Collapse this transcript |
| Customizing the keyboard| 00:00 | One of the Motion's strongest features
is its ability to adjust to many different
| | 00:04 | kinds of input devices.
| | 00:06 | You can use your keyboard or Wacom
tablet or any kind of MIDI control device to
| | 00:11 | control the different objects in your project.
| | 00:13 | So it should really be of no
surprise that you can customize the keyboard
| | 00:17 | shortcuts for even more control.
| | 00:19 | I found this is especially useful
when I was constantly bouncing between
| | 00:22 | multiple applications, like Final Cut
and Motion or After Effects and Motion.
| | 00:26 | All of the shortcuts can be modified
through the Command Editor, so to open that
| | 00:31 | go up under Motion and go down to Commands.
| | 00:34 | Now before we click on Customize,
I want you to look at Command Sets here and
| | 00:38 | notice that I could switch to the
Final Cut Pro Set of keyboard shortcuts.
| | 00:42 | This way any of you who are Final Cut
Pro editors, you don't have to relearn any
| | 00:47 | new keyboard shortcuts.
| | 00:48 | You can just go ahead and
change them to the Final Cut Pro Set.
| | 00:51 | Just keep in mind as I continue moving
throughout the course I'm actually going
| | 00:55 | to be referencing the standard set
of keyboard shortcuts for Motion.
| | 00:59 | Now let's go up under Customize and
explore some of the different ways we can
| | 01:02 | customize our Command Editor.
| | 01:04 | First thing you'll notice, I have a
full visual representation of my keyboard.
| | 01:09 | Now if you look closely at the
keyboard, you'll notice that you can see
| | 01:12 | these little circles.
| | 01:14 | These circles are telling me that I
actually have something mapped to these keys.
| | 01:18 | Now also they're color coded,
and the color coding corresponds to the
| | 01:23 | different types of commands.
| | 01:25 | So here if I click on B, I can see
that this is actually something from the
| | 01:31 | Tools section and it's the Bezier
tool, and here you can see without any
| | 01:35 | modifier it's the Bezier tool.
| | 01:37 | So what happens if I want to change
what is mapped to a key? Well, here, let's go
| | 01:44 | ahead and change the A key.
| | 01:46 | A lot of people get tripped up because
the A key is set to automatically start
| | 01:50 | recording your animation.
| | 01:52 | Now a lot of you may already use the
A key to, I don't know, pull up your
| | 01:56 | selection arrow or something else.
| | 01:58 | But regardless, I'm going
to remap the A option here.
| | 02:02 | Now to remap a command, I can select the
key and notice its set to record animation.
| | 02:09 | If I want to get rid of that option,
I can just drag by clicking and dragging
| | 02:13 | right on the key anywhere off of the
keyboard, and notice how I get that cloud?
| | 02:17 | When I let go, watch what happens.
| | 02:19 | First thing it we'll say, "The Command Set
Standard is owned by Motion and can not be edited."
| | 02:24 | Well, that's fine.
| | 02:26 | I'm going to make a copy and
name it Ian's Keys. I'll click OK.
| | 02:31 | Now I have a new set of
keyboard shortcuts just for myself.
| | 02:35 | Now you notice here's A and
there's nothing applied to it.
| | 02:38 | It is no longer color coded or anything.
| | 02:41 | Now in order to record animation, I need
to go to my Transport controls, because I
| | 02:46 | remember that was under blue, or I
could just go up here and just start typing
| | 02:50 | the word Record,
and notice here is Record Animation.
| | 02:54 | Now if I want this to be mapped to a
different key let's say the U key, I can
| | 02:59 | just click on this command and drag
it right up to the U key and let go.
| | 03:03 | Now I have that new command mapped to
the U key, and sure enough I can see I
| | 03:08 | have different options for modifiers as well.
| | 03:11 | Now just because I have this command
after the U key doesn't mean I can't turn
| | 03:15 | around and still leave it map to the A key.
| | 03:17 | Notice now I have the same
command map to two different keys.
| | 03:21 | I don't know exactly when you'd want to
do that, but just in case, there it is.
| | 03:25 | Now when you're finished editing all
your keyboard commands, it's always wise to
| | 03:30 | go ahead and save this out to an
external drive, like a phone drive or even up
| | 03:36 | in the cloud somewhere. That way, as
your bouncing around from machine to
| | 03:39 | machine, you can easily load your own keyboard
shortcuts onto any system that you're working on.
| | 03:45 | So to do that, go up under the
pulldown where our menu set is set up
| | 03:50 | and notice here now I have an option for export.
| | 03:53 | When I go to the export, here I can
save this as my own set of shortcuts.
| | 03:58 | So I'll say Ian'sCuts and choose a place.
| | 04:03 | I'll just save it on the Desktop and click Save.
| | 04:06 | Now when I click Save here, all this is
going to do is just save the changes that
| | 04:10 | I've made to the specific Ian'sKeys set,
so let's go ahead and click Save here.
| | 04:15 | Now on another system, if I wanted to
actually load up my keyboard set, I can
| | 04:22 | click right here and then go up under Import,
navigate to the file, and choose it accordingly.
| | 04:28 | Now, sometimes you'll create some
keyboard shortcuts that you'll want to delete, and
| | 04:32 | if you need to do that, just make sure
you have that set selected by checking
| | 04:36 | where the check mark is, notice
right here, next to Ian's Keys.
| | 04:40 | Now I can go ahead and choose Delete,
and say, "Are you sure you want to remove
| | 04:43 | that command set?" and I'll say, "Yeah, sure." Delete.
| | 04:47 | Okay, so I've gone into the Command
Editor, we've customized some keys, we've
| | 04:51 | searched for specific key commands,
and we've analyzed how the different keys are set up.
| | 04:57 | So I think you're ready to go out
there and create your own custom keyboard
| | 05:00 | sets and get things rockin' by
saving at your own Command Editor settings.
| | Collapse this transcript |
| Using RAM preview and audio controls to get smooth preview playback| 00:00 | Now, we all know that Motion was designed
to play your graphics back in real time
| | 00:04 | as you're designing your new motion graphics.
| | 00:08 | If you've been doing motion graphics
for a little bit, you probably also
| | 00:11 | understand that that's not
always going to be the case.
| | 00:15 | Yes, Motion is powerful, but there will
be instances where you've built graphics
| | 00:19 | that are pretty complex and require a
little bit more processing than what you
| | 00:24 | can get by just playing
back with the Play button.
| | 00:27 | So if we look at our project here,
you can see I have a bunch of particles.
| | 00:31 | I have a replicator system.
| | 00:32 | I've all kinds of things going on.
| | 00:34 | So if we press the Play/Pause button,
you'll notice I'm getting two-frames-a-second playback.
| | 00:42 | This obviously is not going to give me
a good preview as to what the animation
| | 00:47 | is going to look like.
| | 00:48 | So this is the perfect
time to load a RAM Preview.
| | 00:53 | See what RAM Preview does,
| | 00:54 | it loads all the frames it can into
RAM so it plays back those frames out of
| | 01:01 | the hardware on your computer, as opposed
to kind of a hybrid between the RAM and
| | 01:06 | the graphics card and your memory, et cetera.
| | 01:09 | So to load RAM Preview, you can go up
under the Mark menu and go to RAM Preview
| | 01:14 | and choose Play Range or All.
| | 01:18 | Now, since my Play Range is the entire
length of everything, we will just go
| | 01:22 | ahead and choose All.
| | 01:24 | So as a RAM Preview loads,
a couple of things happen.
| | 01:27 | First thing, this little thumbnail will
update and load each frame, giving me a
| | 01:32 | preview of my RAM Preview.
| | 01:35 | I'll get time remaining in status as
to how long it thinks it's going to take
| | 01:40 | before the RAM Preview is actually loaded.
| | 01:43 | And then if you look down here in the Mini
Timeline, you'll see this green line moving.
| | 01:49 | See what the green line is telling me,
these frames have been loaded into RAM.
| | 01:54 | So let's say for instance all of a sudden
somebody comes in and they are like "Hey!
| | 01:57 | Can I just see, I don't know, just
the first ten frames?" Well, sure.
| | 02:01 | If you press Stop in the middle of a
RAM Preview, as long as you don't go
| | 02:05 | back and change anything in your project,
these frames will remain loaded in your project.
| | 02:12 | So I'll just press Home to move my
playhead back to the beginning and press the
| | 02:17 | spacebar, and I want you to
look in the upper-left area here.
| | 02:21 | Notice now I am getting playback at
20 frames a second until obviously I crashed
| | 02:27 | into all the frames that
weren't loaded into my RAM Preview.
| | 02:31 | Now, instead of always coming up to the
Mark menu and going to RAM Preview,
| | 02:35 | the thing that I typically recommend
people do, Command+R. That will always load up
| | 02:40 | the preview based on the play range,
and it's just a key command you should
| | 02:45 | probably get in the habit of loading.
| | 02:47 | So I am going to press Command+R,
and notice it quickly jumped ahead to frame
| | 02:52 | 34 and 35 because it knew what already had
those first several frames loaded into RAM.
| | 02:58 | Now that our RAM Preview has been
loaded, let's press the Home button to
| | 03:04 | move our playhead back to the beginning and
press the spacebar and watch our animation.
| | 03:11 | Now as I look at that, you can see some
jitteriness that's happening, and that's
| | 03:15 | typical for a RAM Preview.
| | 03:17 | See, it's just trying to load
everything into RAM and then play it back.
| | 03:21 | So sometimes things may look a little
crazy when you're loading it into RAM
| | 03:25 | Preview, but honestly, it should work
perfectly well when you go to export your project.
| | 03:30 | So sometimes instead of doing a RAM Preview,
you need to actually do a Preview Render.
| | 03:35 | Now there is one other thing I want to
tell you about before we pop out of the
| | 03:40 | RAM Preview section:
| | 03:41 | that's actually previewing audio.
| | 03:44 | So if you press F6 to open the Timeline,
down in the lower-right corner there
| | 03:50 | are three buttons, and the middle one
will actually show us the audio that's tied
| | 03:55 | to this piece of video.
| | 03:58 | Notice it's already been turned off,
| | 04:00 | so let's turn on that audio of Pablo.
And even though we loaded a RAM Preview,
| | 04:07 | notice it's still loaded in the
project because the RAM loaded in the video and
| | 04:12 | the audio is just going to play back separately.
| | 04:14 | So when I play this, we should hear
audio in addition to seeing the video.
| | 04:20 | (music playing)
| | 04:32 | So if you ever need to turn off the audio,
all you have to do is just disable it
| | 04:38 | in the Timeline. Or if you leave it on,
you can hide the audio so you don't
| | 04:44 | necessarily see it as you're making your edits.
| | 04:46 | Just understand that
that's still going to play back.
| | 04:51 | Now if you still want to leave the
audio on in the Timeline and play back but
| | 04:56 | not necessarily hear the audio,
you can use this button right here.
| | 05:01 | If you turn that off,
that will mute the audio track.
| | 05:06 | Then when we play things back, it'll play
back with the RAM Preview without the audio.
| | 05:12 | So whether you're trying to preview
your animation with just animation or with
| | 05:17 | animation in an audio track, understand
RAM Preview is probably going to be one
| | 05:23 | of the features that you
will get most comfortable with.
| | Collapse this transcript |
| Introducing markers and audio| 00:00 | Now even though Motion is designed to
work in real time and let you just sort of
| | 00:04 | drag and drop things and free your mind,
there will be plenty of instances where
| | 00:09 | you will want to kind of pause for
a second and look at where you are,
| | 00:13 | possibly make some notes, and adjust
timings. And honestly, especially when
| | 00:18 | you're dealing with audio, you're going
want to add markers, because let's face
| | 00:23 | it, you don't want to sit there and
constantly have to watch something play back
| | 00:26 | over and over again and stop and slide
things and move things around just to get
| | 00:30 | all the timings correct.
| | 00:32 | Sometimes it's easier to just add your
footage, add markers that correspond to
| | 00:37 | how you want to adjust things, and then move on.
| | 00:40 | So let's do that with this project.
| | 00:43 | If you notice, I have my Layers panel
and my Timeline open; if yours aren't open,
| | 00:49 | press F5 and F6 until you see them.
| | 00:51 | And in your exercise files, we're just
going to go to the Media folder under
| | 00:56 | Footage, and there's a
folder in here called Pablo.
| | 00:58 | If you open the Pablo folder, there is
a piece of footage, Pablo_Wide, and it's
| | 01:04 | Pablo dancing at the studio,
and this the clip that we want,
| | 01:07 | so let's add it to our project.
Just click the Import button.
| | 01:11 | Now notice when we added this clip into
our Timeline here we have video and we
| | 01:17 | also have audio down here at the bottom.
| | 01:20 | I know this is the first time you're
seeing this, so I kind of want to draw
| | 01:23 | your attention to this if you're
not seeing this in the bottom of your
| | 01:26 | Timeline, you want to go down to the
lower-right corner and make sure that
| | 01:31 | this button is enabled.
| | 01:32 | This way you can actually
see the audio in the clip.
| | 01:35 | Now let's preview our clip.
| | 01:39 | (video playing)
| | 01:43 | Okay, just so we can see things in
our Canvas, press Shift+Z to resize the
| | 01:48 | Canvas, after clicking in
the Canvas. There we go.
| | 01:52 | Now we can tell that this is the audio
that was recorded off camera during the
| | 01:56 | shoot, and a lot of times for your
production you will want to go back and get a
| | 02:01 | high-res version of that song and drop
it into your project, but for the short
| | 02:06 | term this is perfectly fine.
| | 02:09 | Now if there is an occasion where you
want to delete the audio track off of the
| | 02:14 | video track, you can unlink the audio
track just by clicking on this little Lock
| | 02:20 | Link icon, select the
audio track, and press Delete.
| | 02:25 | Now if we move around and play,
we don't have any audio with our video.
| | 02:30 | Now that's not what I wanted to do,
so I'm just going to Command+Z to undo that,
| | 02:35 | and I'll make sure that my
audio is still linked to the video.
| | 02:38 | This way as I drag the video back and
forth, the audio is tied to the video.
| | 02:42 | See if I left it unlinked, notice I can move
the video separate from the audio. All right!
| | 02:47 | Well, now that we've covered some of the
basics in how to see the audio. If you
| | 02:52 | don't want to hear the audio, it's
pretty much the same thing as turning off the
| | 02:56 | visibility of a layer.
| | 02:57 | In the Timeline just deselect it,
and now when we begin playback you notice it's
| | 03:02 | going to play then the audio.
| | 03:04 | It's perfectly fine. Okay.
| | 03:06 | So we know how to add the video clip.
| | 03:09 | We know how to deal with
audio aspects of things.
| | 03:12 | Now let's add some markers.
| | 03:15 | Now there are two kinds of
markers you can add in Motion:
| | 03:18 | there are project markers which hang
out at the top of the Timeline over
| | 03:23 | absolutely everything, and then there
are object markers, which are tied to
| | 03:27 | individual objects in your project.
| | 03:31 | So you can add markers in real time
at any time by pressing the M key.
| | 03:36 | I'm going to select the Pablo_Wide
video layer, press Home to move my playhead
| | 03:42 | back to the beginning, and when I press
the spacebar, we'll hear the audio. And I
| | 03:47 | want you to press M a couple of times,
maybe two or three times, at different
| | 03:52 | points when you think you might
want to add in edit, so here we go.
| | 03:55 | (video playing)
| | 04:02 | Okay. So now we've just added an Object Marker.
| | 04:06 | What's great about this is the fact
that these markers will move with the clip.
| | 04:11 | So even if I slide this down the
Timeline and play the clip back, the markers
| | 04:17 | will still line up with
the beats that I marked out.
| | 04:19 | (video playing)
| | 04:24 | So we've successfully added object markers.
| | 04:27 | To add markers in the project,
all we have to do is make sure nothing is
| | 04:31 | selected. So just click up in the
Layers panel and now when we press the
| | 04:35 | spacebar, just press M at an edit point.
| | 04:39 | (video playing)
| | 04:44 | Okay, so I'm just stopping playback here.
| | 04:46 | So we added a marker in the project.
| | 04:50 | So now if I click and drag,
you'll notice I have an object marker and I have my
| | 04:55 | project marker, and as we drag, notice
the markers will snap to each other.
| | 05:00 | So if I wanted to line up these
for an edit point, I could use it for
| | 05:04 | something like that.
| | 05:06 | Now one last thing I want to talk to
you about, audio, before we get out of this
| | 05:11 | video, and that has to do with audio playback.
| | 05:14 | So I want you to go up to your
Motion Preferences, so go to Motion >
| | 05:17 | Preferences, and go to the Time section.
| | 05:20 | In here there's playback controls
that pertains specifically to audio.
| | 05:25 | So, if the audio sync is lost, you
can tell Motion to skip the video frames
| | 05:30 | and keep the audio playing. Or if
audio really isn't that important to you,
| | 05:35 | you can just change it to pause the audio
playback, so it will always play the video back.
| | 05:40 | Now you can also limit playback speed
of the project to the project frame rate,
| | 05:45 | which is something that pretty much I
always do, but you can also have the audio
| | 05:50 | loop while scrubbing,
and usually I just leave those selected.
| | 05:55 | So if you're having issues when you're
trying to play back your audio, make sure
| | 06:00 | to go in and change your Audio Sync
Preferences to your personal preference.
| | 06:06 | So even though we've covered a fair
amount about our audio and markers, I'm sure
| | 06:11 | you'll see these different
techniques repeated throughout the rest of the
| | 06:15 | course, because markers and audio are
things that you'll be dealing with on
| | 06:19 | quite a regular basis.
| | Collapse this transcript |
|
|
2. Adding Assets to a ProjectAdding assets to a project| 00:00 | Do you have one of those friends who seems
to just always make friends with everyone?
| | 00:04 | I know it sounds strange, but Motion is
just one of those kinds of applications.
| | 00:09 | It plays pretty well with others,
but just be aware, it plays well to a point.
| | 00:14 | For example, Motion can import video
files like QuickTime, of course, but it
| | 00:19 | can also import layered Photoshop
documents and even vector files like
| | 00:23 | Illustrator documents.
| | 00:24 | So let's look how to import these files,
and I'm going to show you some tips for
| | 00:29 | getting the most out of each format.
| | 00:31 | If you navigate in your File Browser to
the exercise files, scroll down to the
| | 00:36 | bottom under Media, and in here you
should see we have an option for some
| | 00:40 | PSDs and an Illustrator file.
| | 00:43 | Let's start with the PSD, if you just
click on the PSD, notice up here in your
| | 00:50 | preview area for File Browser
| | 00:52 | it'll tell you it's a Photoshop document,
| | 00:54 | its millions of colors, and its size.
| | 00:57 | Now I can import this just by clicking
on the Import button and the layers will
| | 01:03 | automatically get imported.
The problem is, notice it just brought in one
| | 01:08 | layer, and that's not what I'm looking for.
| | 01:11 | What I want to do is bring in a layered
Photoshop document so I can animate all of the layers.
| | 01:16 | Well, to do that, you want to just drag
and drop the PSD right into the Canvas.
| | 01:22 | Go ahead and make sure your dynamic
guides line up, so you're right in the
| | 01:25 | center of the Canvas there and then if
you just stop moving for a second, you
| | 01:30 | will notice I can import merged layers, which
is the first option, or I can import all layers.
| | 01:38 | Now I want to import layers, but just
so you know, you can choose a specific
| | 01:42 | layer, if you only want to choose one
element out of a Photoshop document.
| | 01:46 | Let's choose Import All Layers.
| | 01:49 | Now under here you'll notice it brought
the PSD into my Background_Video group,
| | 01:55 | but it also created the
Stripes_Circles comp here, and I have my circles which
| | 02:04 | exist within a group, and I
have each individual layer.
| | 02:09 | So let me explain something here.
This is really kind of cool.
| | 02:12 | In the previous version of Motion,
when you had groups of layers in Photoshop
| | 02:17 | and imported them into the Motion it
kind of created these strange blank layers
| | 02:21 | and all kinds of other strange things.
| | 02:23 | Now when you drag and drop these files
right into Motion it just automatically
| | 02:28 | keeps the groups organized.
| | 02:30 | Now, it's kind of hard to see, but there
is a glow on these two lines, and these
| | 02:36 | two lines were created with this
graphic here called the Center_Bar.
| | 02:40 | I know that that glow was
actually a layer style in Photoshop.
| | 02:45 | Now, it did bring in the layer styles as
a rasterized graphic element, so I can't
| | 02:51 | really animate that glow, but it
did bring in and looks to be correct.
| | 02:57 | As a matter of fact, if we go
to the Inspector with the Center_Bar
| | 03:00 | layer selected, if you go to the
Properties section, notice it even
| | 03:05 | transferred the Blend mode.
| | 03:07 | I had Vivid Light selected for
that layer, and that was brought in.
| | 03:11 | If we click right on these groups of
circles here, you'll notice ,as I click on
| | 03:16 | each circle, I have a different opacity setting.
| | 03:19 | That too was brought over
directly from Photoshop.
| | 03:22 | So this is all well and good, but all
of these layers are actual bitmap images.
| | 03:27 | See, if I select one of these circles
and I just start scaling the circle up,
| | 03:32 | eventually you'll see those jagged
edges, and that's not what we want at all.
| | 03:37 | So this is when you want to
actually import an Illustrator file.
| | 03:41 | So to do that, I'm going to jump back
to my File Browser and in my navigation
| | 03:45 | here, I'm going to jump back to my
Media folder and go to Illustrator and just
| | 03:50 | drag and drop the Illustrator
file right into my comp window.
| | 03:56 | Now notice even if I stop moving, it's
not going to give me the option to import
| | 04:00 | multiple layers. If I opened this
Illustrator document, you would see that each
| | 04:06 | one of these waves existed on its own
individual layer, but since Illustrator
| | 04:11 | files aren't supported for
multiple layers inside of Motion,
| | 04:16 | it flattened that to one individual layer.
| | 04:19 | So let's go ahead and click and drag on
the corner to scale up our Illustrator
| | 04:25 | file, and you'll notice I'm still
getting strange rasterization here.
| | 04:30 | Well, that's not pretty, because I
should be seeing things nice and sharp.
| | 04:36 | Well, even when I view it at 100%
magnification, I still have jagged edges.
| | 04:41 | Well, let's go to my Render settings here.
| | 04:44 | Yep, I'm set for full resolution.
| | 04:46 | If I set my quality up to Best, no,
that still doesn't seem to do anything.
| | 04:51 | What you need to do is select the layer
and if you right-click on the layer,
| | 04:55 | you can choose Reveal Source Media.
You can also press Shift+F. And when you say
| | 05:02 | Reveal Source Media, notice it
automatically opens up the Media tab ,which is
| | 05:07 | hidden beneath your layers tab
here, and notice PDF is selected.
| | 05:12 | Now let's look under the Media
section of my Inspector, and you'll notice
| | 05:18 | there's an option for Fixed
Resolution, which is on by default.
| | 05:22 | So if I go ahead and turn that off,
check it out: now I have a nice smooth
| | 05:27 | Illustrator file that I imported into Motion.
| | 05:30 | If I go ahead and select that one layer
and look at its properties, you can see
| | 05:35 | I've got it 300% magnified and
it's still sharp as all get out.
| | 05:40 | Now there is one last thing I want
to show you and that has to do with
| | 05:42 | interpreting footage.
| | 05:44 | Sometimes when you bring in QuickTime
files or other types of video files,
| | 05:48 | you may have to end up changing exactly how
that footage is interpreted within Motion.
| | 05:55 | So to do that, go and select the file and
again just open it in the Media tab, and
| | 06:00 | here I've got my QuickTime file.
There we go, you can see it.
| | 06:04 | So with the QuickTime file selected,
if you go to the Media section under the
| | 06:08 | Inspector, this is where you can change
how the alpha has been interpreted, the
| | 06:13 | pixel aspect ratio, the field
order, you get the general idea.
| | 06:18 | You can even swap out the footage if you
want by clicking the Replace Media File
| | 06:22 | button right here in the
bottom of the Media window.
| | 06:26 | Now, notice it shows you each individual layer
that has been linked back to this specific file.
| | 06:32 | So now that you know how to interpret
a QuickTime file, let me just show you
| | 06:36 | that it's just as easy to import the
QuickTime file as it is importing Photoshop,
| | 06:41 | Illustrator, any of those other files.
| | 06:43 | So I'm just going to press Shift+Z to
reset my magnification back to 100%, and
| | 06:50 | I'll go ahead and turn off my Wave
layer because I find it a little bit
| | 06:54 | distracting, and here let's go to the
File Browser and navigate back in our media
| | 07:00 | folder here to look for some footage.
| | 07:02 | Now, I'm going to go ahead and go to the
B-roll studio footage, and I want to cut
| | 07:07 | from this grand piano to
the railing piece of footage.
| | 07:12 | Notice the second I select the footage it's
already playing up here in my Preview window.
| | 07:18 | Now I can import this by
clicking the Import button.
| | 07:21 | I can drag and drop it directly to the Canvas.
| | 07:23 | I can even drag and drop
it directly in the Timeline.
| | 07:26 | Just be aware, if you drag and drop
directly to the Timeline or the Mini
| | 07:30 | Timeline up here, it will actually insert the
start point of the media wherever you dropped it.
| | 07:38 | So notice here, it's telling me right
at three seconds, that's where my media is
| | 07:42 | going to go ahead and start.
| | 07:43 | So as you can see, adding QuickTime
files as well as adding Photoshop,
| | 07:48 | Illustrator, you name it, Motion is just
one of those applications that like to
| | 07:53 | be friendly with just about everything.
| | Collapse this transcript |
| Using the Library| 00:00 | Now, the Library in Motion is really a
great place to start when it comes to
| | 00:04 | creating any kind of graphic. Much like
the name Motion pretty much says it all,
| | 00:09 | Library is just that.
| | 00:11 | It's a library of just about everything
you can do, or just about anything you
| | 00:16 | can create in the application.
| | 00:18 | For people who are visual learners,
the Library is a great way to preview
| | 00:22 | what something looks like before you
even think about possibly adding it to
| | 00:26 | your specific project.
| | 00:28 | So to check out the Library, let's go
ahead and press Command+2 on our keyboard.
| | 00:33 | We will jump right to the
Library here on the left-hand side.
| | 00:36 | Now, first thing I want you to notice,
we actually have these different
| | 00:39 | categories moving down the left side.
| | 00:42 | So if I select any one of these
different categories, I can see subsets in here.
| | 00:50 | Now, we haven't gone over each
individual object that you can create in
| | 00:53 | Motion just yet, because the Library
actually helps me illustrate this very, very well.
| | 00:59 | So let's get a little bit familiar with
everything that we can create from the
| | 01:03 | Library as we actually explore
using the Library. So first thing, behaviors.
| | 01:09 | If I go ahead and choose one of these
folders here on the right, like Basic
| | 01:13 | Motion, let me go ahead and click on
Grow/Shrink, and sure enough I get a
| | 01:18 | preview up here telling me it scales an
object larger or smaller continuously or
| | 01:23 | to a specific value.
| | 01:25 | I could continue clicking through and
checking out all of the different kinds
| | 01:29 | of behaviors that I can apply, or we
could jump onto the next section.
| | 01:34 | Let's look at filters.
| | 01:36 | Filters are something that I'm sure
no doubt you are already familiar with.
| | 01:40 | But if I wanted to stylize this background
video, I'd actually want to add a filter.
| | 01:46 | So I am just going to click on my
Background_Video layer here and press F5, just
| | 01:50 | to make sure that I had the
right layer selected, and I do.
| | 01:53 | So I'll press F5 to close that window
again. And in here, I can preview, again in
| | 01:58 | my Library, exactly what a filter is
going to look like before I ever apply it.
| | 02:04 | And while I can actually access all
of the different filters here really
| | 02:08 | quickly, I can jump to each
individual subcategory if I want to stylize
| | 02:13 | something different.
| | 02:14 | So here, let's go ahead and just add a nice
glow to our already-blown-out piano video layer.
| | 02:21 | So to apply a filter, all you have to
do is click Apply or drag in and drop
| | 02:26 | it right to the layer.
| | 02:27 | So when I let go, now I've
actually got a slight glow applied.
| | 02:31 | It's kind of hard to see, but if I
begin playback here, you'll notice some of
| | 02:35 | the highlight areas are a little
bit more blown out in the video.
| | 02:39 | Now, I could go ahead and tweak those
settings, but again, this is about the Library.
| | 02:43 | So let's continue exploring. Image Units,
| | 02:47 | notice I have Image Units here
and I have Image Units here.
| | 02:50 | Basically, you want to pay
attention to these icons.
| | 02:54 | So this icon here is
telling me that I've got a filter.
| | 02:58 | This icon here is telling
me I'm using a generator.
| | 03:02 | Now, there are Image Units for filters,
and there are Image Units for generators.
| | 03:07 | Basically, what this is is a type of
element that has created off of the core
| | 03:14 | engine that's actually used to create
graphics in Mac OS X. So these are very
| | 03:20 | efficient ways of stylizing video and creating
new graphics just by using these Image Units.
| | 03:28 | That's why they're broken out separately
from the standard filters and generators.
| | 03:33 | Now, particle emitters we'll cover
pretty in depth a little bit later, but for
| | 03:38 | now, I just want you to click through and look
at the preview up here at the top of the page.
| | 03:43 | This will show you exactly what the
particle system is going to look like before
| | 03:47 | you apply it to your project.
| | 03:49 | Now, I'd like to add some kind
of little sparkle to our scene,
| | 03:53 | so if we go ahead and click on
Sparkles, I can choose Weightless Spark, and
| | 03:59 | yeah, I think that looks kind of cool.
| | 04:00 | So to apply it to the scene,
all I have to do is click Apply.
| | 04:03 | Now, you usually wouldn't see the particles
until you move your playhead down the Timeline.
| | 04:09 | But since my playhead was already
down five seconds, I am seeing my particles.
| | 04:14 | So if you're not seeing particles,
go ahead and press the spacebar and just let
| | 04:17 | your playhead move down the Timeline.
| | 04:19 | Now, when I hit the spacebar,
it moved in the Library.
| | 04:23 | That's because I haven't actually
selected the Timeline to make it active.
| | 04:27 | Now, with the Timeline active, I can
hit the spacebar and actually preview
| | 04:30 | what's going on in the scene.
| | 04:35 | Now, it's not uncommon for Motion
to actually have a hard time playing
| | 04:40 | something back when you start layering
elements on top of elements on top of
| | 04:43 | elements, and the easiest way to get a
preview for something like that is to
| | 04:48 | load up a RAM Preview.
| | 04:50 | But for right now, again I want to
stay focused on the Library, so I am just
| | 04:54 | going to jump back here to Replicators,
and show you some of the different
| | 04:57 | replicators that you can actually create.
| | 04:59 | Replicators are very similar to
particles except they're a little bit more
| | 05:04 | organized in how things are created.
| | 05:07 | It just creates duplicates of
whatever element you load into the
| | 05:11 | replicator, hence its name.
| | 05:13 | You can also choose individual shapes
and gradients and fonts and text styles.
| | 05:20 | Music links you right up to your
iTunes. Photo links you right up to your
| | 05:25 | iPhoto. You get the general idea.
| | 05:27 | There is a ton of content in Motion.
| | 05:30 | Just about any kind of graphic you
think you might want to create or use at
| | 05:34 | some time is probably already in the Library.
| | 05:38 | If it isn't, it's a great place to go
check for a starting element that you
| | 05:42 | could then tweak and turn into
exactly what you are looking for.
| | 05:45 | Now, in addition to just using the
visual nature of the Library as a reference,
| | 05:50 | I also encourage you to browse through
some of the more complex elements, like
| | 05:54 | particle systems, just to see if you
can learn something ne, or find something
| | 05:59 | that inspires you for creating
some new elements later down the line.
| | Collapse this transcript |
| Working with layers and groups| 00:00 | Now one of the things I find most
interesting about working in Motion is the way
| | 00:05 | that it's actually organized.
| | 00:07 | It's kind of neat that you can see
absolutely every layer involved in a
| | 00:11 | composition, including all of the nested
elements, without having to go into each
| | 00:15 | individual pre-composition.
| | 00:17 | Now if you're unfamiliar with what I
am talking about, don't worry about it.
| | 00:21 | That's where we are going
to get to in this video.
| | 00:23 | So if you don't already have this
project open, open 02_03_layers and then press
| | 00:29 | F5 to open your Layers panel. In here
you'll notice I have a background layer,
| | 00:35 | and to give myself some more viewing
area I am just going to press Command+1 to
| | 00:40 | hide my File Browser.
| | 00:41 | Now we should be able to see the full
name of all of the layers and groups.
| | 00:46 | Now, most the time you see a disclosure
triangle like this. That usually means
| | 00:50 | that there are other
elements underneath of that group.
| | 00:54 | So as you can see, my background
video group contains my Stripes_Circles
| | 00:59 | Photoshop document that we imported
in the previous video, as well as this
| | 01:03 | B-Roll_Piano QuickTime.
| | 01:06 | Now if I press the spacebar here,
you'll see our animation is kind of blah, and
| | 01:13 | really we need to spice it up.
| | 01:14 | So to do that, I want to start duplicating
some of these different graphic elements.
| | 01:19 | I am just going to press the
spacebar to stop playback and open up our
| | 01:23 | Stripe_Circles comp here,
so we can see what we are dealing.
| | 01:27 | Now I have these three bars.
| | 01:29 | I am going to start by duplicating these bars.
| | 01:33 | Now to do that, I am going to select
Bar1, hold down Shift, and select Bar3.
| | 01:39 | Now with all the layers selected,
I can go ahead and press Command+D to
| | 01:42 | duplicate these layers.
| | 01:44 | Notice they have been
duplicated in the layer hierarchy.
| | 01:48 | So if I want to actually move these
individual objects as a group, what I should
| | 01:53 | do is group them all together in one new group.
| | 01:57 | Now with all three layers selected,
it's pretty easy to do; all you have to do
| | 02:01 | is right-click or Ctrl+Click on one of the
layers and then go out here and choose Group.
| | 02:08 | Now with that group I've automatically
added all three of the elements into the
| | 02:13 | new group, and you notice my bounding box
is now around all three elements, rather
| | 02:18 | than three individual elements.
| | 02:21 | So now if I want to rotate this, I can
just click on our rotation handle and as I
| | 02:26 | hold Shift, I can make it snap in
90-degree increments, and now if I just click
| | 02:31 | anywhere inside the bounding box, I can
go ahead and just reposition this layer.
| | 02:37 | So now I've got some copies up here.
| | 02:39 | Let's duplicate the circles.
| | 02:41 | Now since the circles already reside
in a group, I am going to use key command
| | 02:47 | right here within the Canvas.
| | 02:50 | If you hold down Option and click
and drag from within the bounding box,
| | 02:54 | notice I automatically create a
copy of that group, and you can see it here
| | 03:00 | in the layer hierarchy.
| | 03:02 | Now one of the issues I'm running into is
the fact that my anchor point is way over here.
| | 03:06 | So if I click on rotation,
it's going to spin way off this screen.
| | 03:10 | So I'll just click and hold on my
Transform tool to access the Anchor Point tool.
| | 03:15 | Now I can just click the x axis control
handle and the y axis control handle to
| | 03:21 | move the anchor point back to
the center of these circles.
| | 03:27 | Now, when we grab our Transform tool,
now my anchor point, as you can see, is
| | 03:32 | right here in the middle.
| | 03:34 | Now, since these circles are grouped
together, if I wanted to scale this group
| | 03:39 | up, I could just click on any one of
the corners and hold down Shift as I drag,
| | 03:45 | but notice if I don't hold down Shift
until after I start transforming, there
| | 03:52 | will be a distortion.
| | 03:53 | So make sure to hold down Shift
first and then click and drag.
| | 03:57 | Now, look what happens if you
expand a layer group and select the
| | 04:01 | individual elements. Okay.
| | 04:05 | I'm just holding down Shift as I'm
clicking, but now watch what happens.
| | 04:08 | If I hold down Shift and click on one
of the corners and start scaling, notice
| | 04:13 | they're scaling around the center
point of each individual element, not the
| | 04:18 | whole group together.
| | 04:21 | So now I've got kind of these disjointed
circles, which isn't quite what was going for,
| | 04:26 | so I will just Undo that command and then
move these circles over here to this side.
| | 04:31 | So this is already starting to look a
little more interesting, but what I want
| | 04:36 | to do is go ahead and group the
Circles copy in my new bar group here.
| | 04:41 | So I will rename the bar group L_BarGroup,
L for left, and then here's my Circles copy.
| | 04:50 | So click on Circles copy and if
you hold down Command and click on
| | 04:54 | L_BarGroup, that will allow you to
select both groups without selecting the
| | 04:59 | intermediary layers in between.
| | 05:01 | So now if I go ahead and right-click,
I can group these groups, and now I can
| | 05:06 | go ahead and move this as a unit. Or if I hold
down Option again, I can make copies of this.
| | 05:13 | So this is starting to look
a little more interesting.
| | 05:16 | Now I am going to hold down Shift and
click on the corner to scale this down.
| | 05:22 | Again, let's go ahead and move our anchor point.
| | 05:28 | So I think you're probably sensing a theme.
| | 05:31 | Using Option+Drag or Command+D or right-
click to group objects, it's very quick
| | 05:39 | and easy to actually group
multiple layers into multiple groups.
| | 05:45 | Now one of the things that also
translates as you're moving things around and
| | 05:50 | making copies is the ability to apply
filters and behaviors to groups as opposed
| | 05:57 | to individual layers.
| | 05:58 | And we will get to that in a little bit,
but for now we've covered a lot of the
| | 06:03 | basics when it comes to dealing with
multiple layers and creating groups.
| | Collapse this transcript |
| Understanding and using blend modes| 00:00 | Ah, yes! Blend modes can be much like life or taxes;
| | 00:05 | you to make them as simple
or as complicated as you like.
| | 00:10 | As an artist with some pretty decent
technical abilities, I often end up talking
| | 00:14 | about blend modes only to see
people's eyes start to glaze over.
| | 00:18 | So for now I would really like to
avoid that and actually keep things as
| | 00:22 | simple as possible.
| | 00:23 | So before I get into each individual
nuance of a blend mode, I want to actually
| | 00:28 | show you where you can find blend modes.
| | 00:31 | So first thing, when would you
want to actually use a blend mode?
| | 00:35 | Well, the precise time would be anytime
you want to actually blend something
| | 00:41 | into the background.
| | 00:43 | So each blend mode, you can actually
change how an object interacts with
| | 00:49 | the layers below it.
| | 00:51 | It's really important to remember "layers below."
| | 00:54 | So let's go ahead and select this
Stripes_Circles group here and press Command+3
| | 01:00 | to open up the Inspector.
| | 01:02 | So first thing, you notice under
Properties in the blending section, sure
| | 01:07 | enough, here is blend mode.
| | 01:09 | So notice this option is set to Pass Through.
| | 01:12 | Well, Pass Through is the default
setting for groups when you have many
| | 01:18 | different layers nested within that group.
| | 01:21 | So if I wanted to change how this
group of purple circles blended with the
| | 01:27 | layers below, I would select this
group and change the blend mode from Pass
| | 01:32 | Through to something like Multiply.
| | 01:35 | Now you notice what ends up happening
is this set of circles is now blending
| | 01:40 | with the layers below.
| | 01:42 | Now I chose Multiply for a reason,
because it's the direct inverse of Screen.
| | 01:49 | So it's kind of interesting. Different
blend modes are organized into different
| | 01:54 | groups and basically the way its set
up is based on lightness or darkness.
| | 02:01 | So as I'm selecting these purple circles,
I'm telling them to screen over the layers below.
| | 02:09 | So notice the bright pixels are popping
right through my purple circles, whereas
| | 02:15 | the darker pixels are
actually staying masked underneath.
| | 02:19 | See, if I chose Multiply, notice the
purple pixels now have turned really,
| | 02:24 | really dark, and they are
blending into the background layer.
| | 02:28 | So each group is set up to
function slightly differently.
| | 02:32 | So the easiest way to think of the
Multiply group, Multiply is great to get
| | 02:39 | rid of white pixels.
| | 02:41 | And Screen is actually really
good to get rid of black pixels.
| | 02:48 | So if you have an element that has all
white or all black pixels, it's an easy
| | 02:53 | way to get rid of that element.
| | 02:55 | So here, let's select our Dance type
layer here, which is white, and choose Screen.
| | 03:02 | Well, nothing happened.
| | 03:04 | There is reason nothing happened.
| | 03:06 | If we go to Multiply, now those pixels are gone.
| | 03:10 | See, it's Multiply that gets rid of the white
pixels, Screen that gets rid of the black pixels.
| | 03:17 | So obviously this is not what we're
trying to do with this individual type layer,
| | 03:22 | so I'll change that back to Normal.
| | 03:25 | One thing I can recommend when you're
dealing with actually trying to blend
| | 03:29 | different layers together: don't deal
with 100% white or 100% black layers.
| | 03:34 | When you do that, you'll end up with
situations like I just illustrated where
| | 03:39 | the white elements are completely
gone, or same thing with the black pixels.
| | 03:45 | So let's go ahead and blend
in this background circle here.
| | 03:50 | So if I press the spacebar, I can play
my animation and as you can see, it's a
| | 03:56 | video of the dancer dancing around on the stage.
| | 04:00 | Now I want a blend this back
into the piano layer below.
| | 04:06 | In order to do that, I'm just going to stop
playback here for a second and go to my blend mode.
| | 04:11 | Now if I want the dark area where his
pants are to actually get knocked out,
| | 04:17 | what would I choose?
| | 04:18 | I would actually choose Screen.
| | 04:21 | So let's go to Screen, and now you
can see the darker areas are actually
| | 04:26 | getting knocked out.
| | 04:28 | Now, it's not 100% knocked out, because
some of the elements from the layer below
| | 04:33 | are actually shining through.
| | 04:34 | But if we press our spacebar, now you
notice the circle looks a little bit washed out.
| | 04:41 | Now, the subsequent groups of blend
modes function in a similar manner.
| | 04:46 | They just tend to take into account a
little bit more from each of the different
| | 04:52 | color channels, whether you're talking
about the red channel, the green channel,
| | 04:55 | the blue channel, you get the idea.
| | 04:57 | These last set of groups here, I like
to think of these as composite groups.
| | 05:03 | For example, if I chose Stencil Alpha,
notice when I chose that all the layers
| | 05:08 | below are automatically cut out based
on the alpha channel of our DANCER layer.
| | 05:15 | Now you notice I can't see the dancer
anymore, because it's actually acting as a
| | 05:19 | stencil to only show me this background layer.
| | 05:23 | See, if I move this all the way up to
the top of my layer hierarchy, now notice
| | 05:27 | it's cutting absolutely everything out.
| | 05:30 | So this is actually a neat tricky way
of masking a group of layers if you don't
| | 05:36 | want to have to go in and apply
a mask to an individual group.
| | 05:40 | You can just go in and
change the individual blend mode.
| | 05:43 | So I want you to experiment with
your own blend modes to see exactly what
| | 05:47 | you might come up with.
| | 05:49 | I think you will find if you stick to
the sections method, you will have a good
| | 05:52 | place to start and can easily refine
your blends as soon as you choose different
| | 05:57 | settings within each section.
| | Collapse this transcript |
|
|
3. Animating with BehaviorsAdding and adjusting behaviors| 00:01 | So if you're new to animation or
creating motion graphics, behaviors will make
| | 00:05 | total sense and you may not completely
understand what all the hype is about.
| | 00:09 | But if you're coming to Motion from
another application like After Effects,
| | 00:13 | using behaviors might be rather
liberating or quite possibly frustrating.
| | 00:18 | See, if you're an After Effects artist,
I'm just going to stop for a second and
| | 00:21 | speak to you just for this one minute.
| | 00:24 | I just want you to free your mind and
stop thinking about animation in such a
| | 00:27 | precise keyframe-driven manner.
| | 00:30 | Just think about what it was like
the first time you rode your bike.
| | 00:33 | Remember how great you felt just to ride?
| | 00:35 | You didn't have to think about turning
the handlebars or remembering to lean
| | 00:39 | when you turn; you just turned.
| | 00:41 | Well, that's what we are
going to do with behaviors.
| | 00:43 | You might want to think about
behaviors more like expressions.
| | 00:46 | Now that's my little note to After
Effects users. Now let's go ahead and just
| | 00:51 | jump into actually using behaviors,
because like I said, those of you who are
| | 00:54 | unfamiliar with motion graphics,
using behaviors may be very natural.
| | 00:59 | So I want to browse
through some of the behaviors.
| | 01:01 | So if you press Command+2, that will
open up your Library and if you go to the
| | 01:07 | Behaviors section here on the left, go
ahead and select that, you can see we
| | 01:10 | have all kinds of different behaviors.
| | 01:13 | So if you notice on the right side
of the window here, we have audio
| | 01:17 | behaviors, some Basic Motion.
| | 01:19 | Well, let's look at some of the Basic Motion.
| | 01:22 | You can control things like the
fade-in and fade-out of an object.
| | 01:26 | You can make objects grow or shrink.
| | 01:30 | Motion Path, it's very much like just
drawing a Bezier path and having that
| | 01:34 | object move along the path.
| | 01:36 | So as you can see, you know we can
click through and check out each of these
| | 01:40 | individual behaviors, but I just
want you to understand how to use the
| | 01:44 | Library and browse through a couple
different behaviors before you actually
| | 01:49 | start applying behaviors.
| | 01:51 | Now the behavior I want to start with is
specifically designed to work with shapes.
| | 01:55 | Remember how I was talking about how
these shapes were built within Motion?
| | 01:59 | Well, one of the things that I want to
do, since these look like bubbles, I want
| | 02:03 | them to sort of jiggle like a bubble would.
| | 02:06 | This is one of the strongest
features for behaviors, the ability to
| | 02:11 | create organic motion.
| | 02:13 | Let's go ahead and choose Randomize
Shape and if you notice here, it randomly
| | 02:18 | animates the control
points of a shape over time.
| | 02:22 | So to apply this, since I already have
the yellow circle selected, all we have
| | 02:26 | to do is click the Apply button
here in the top of the Library.
| | 02:30 | Now that that behavior has been applied,
you can see the four control points
| | 02:33 | that were actually used to create the shape.
| | 02:36 | Also, the random behavior actually
appears underneath of my shape and it
| | 02:42 | populates the Mini Timeline down here.
| | 02:45 | So if we go ahead and make sure we
have the Timeline selected, just by
| | 02:49 | clicking anywhere over here, you can
go ahead and press the spacebar and
| | 02:52 | preview the animation.
| | 02:54 | I am just going to deselect the shape
so we can hide all the edges here, just by
| | 02:59 | clicking down in the lower
section of the Layers panel.
| | 03:02 | That's actually moving kind of quickly,
| | 03:04 | so what I want to do is pause playback
just for a quick second here and go back
| | 03:10 | to my Inspector and reselect my
behavior, if it's not already selected.
| | 03:14 | You want to make sure in the Inspector
to go to the Behaviors tab and in here
| | 03:18 | I can actually control the amount of
randomization as well as the frequency and the noisiness.
| | 03:25 | Now usually as I make adjustments
to this behavior, I want the playback
| | 03:30 | of Motion to continue.
| | 03:32 | That's the main idea behind Motion.
| | 03:34 | So I am going to go ahead and press
the spacebar to begin playback and just
| | 03:39 | adjust the Amount here for one second.
| | 03:42 | So we can increase the Amount but
bring the Frequency down so it doesn't
| | 03:46 | wiggle quite as much, and then we can
bring the Noisiness down, which again will
| | 03:51 | kind of limit the amount of
difference between the separate adjustments.
| | 03:57 | Now I am going to stop playback just for
one second here and show you the Apply mode.
| | 04:02 | Notice right now it's set to Add.
| | 04:04 | What it's going to do is add an amount
of 14 units to the position of the X or Y
| | 04:11 | of any one of these
points that make up the shape.
| | 04:15 | If we choose a different Apply mode,
such as Add and Subtract, it'll actually
| | 04:19 | double the Amount, 14 one way, 14 the other way.
| | 04:23 | So I just kind of wanted you to be
aware of how that function actually worked.
| | 04:27 | Now one of the cool things about
behaviors is the fact that you can easily copy
| | 04:30 | those behaviors from one object to the other.
| | 04:33 | Now right here in the Layers panel, if
you go ahead and hold Option and click
| | 04:38 | and drag, you can drag the same random
behavior right down to the purple circle.
| | 04:45 | Now if we press the spacebar to
begin our playback, look what happens.
| | 04:49 | Well, that's not very realistic;
| | 04:51 | they're actually moving the exact same way.
| | 04:54 | So I will just stop playback for a
second here and go down here to this
| | 04:57 | Random Seed button.
| | 04:58 | Right there where it says Generate,
click on that, and that generates a different
| | 05:02 | Random Seed number, so the shape looks
slightly different, but it will still
| | 05:06 | wiggle around the same amount, the same
frequency, et cetera, as long as you don't
| | 05:11 | change those settings.
| | 05:12 | So I'll just deselect this behavior and
watch playback again and as you can see,
| | 05:17 | we've got some slightly different
moves from one shape to the other.
| | 05:22 | Now there is one more type of
behavior I want you to be aware of, and that's
| | 05:26 | actually called a parameter behavior.
| | 05:29 | I love parameter behaviors because you
can tie them to a specific parameter.
| | 05:34 | Let me show you what I am talking about.
| | 05:35 | This gray circle here in the center,
let's say I just want the position of that
| | 05:40 | to kind of move left and right
on the X axis back and forth.
| | 05:44 | Well, with that circle selected, if
you go to the Properties section of your
| | 05:48 | Inspector, open up the Position
disclosure triangle, and just Ctrl+Click or
| | 05:54 | right-click on the X parameter and you
should get this dropdown menu, and right
| | 06:00 | here you should see Add Parameter behavior.
| | 06:03 | Now since I want this to slide back and forth
on the X axis, I will just choose Oscillate.
| | 06:08 | Now this behavior is applied only to the
X axis of this individual parameter, and
| | 06:15 | you can see that down here under Apply To.
| | 06:17 | And if you wanted to change that, you
could click this button and choose a
| | 06:20 | different parameter or have it do X
and Y, X, Y, Z, you get the general idea.
| | 06:26 | Now, in order to preview this, you can
go ahead and press the spacebar again and
| | 06:30 | see exactly how that's moving.
| | 06:32 | Now, I'm going to adjust the Amplitude
down here quite a bit, so it's a little
| | 06:37 | less long in terms of its moves back
and forth across the screen, and let's just
| | 06:43 | go ahead and stop playback there for a
second. And I could definitely adjust the
| | 06:46 | Speed or some of the other different parameters
just by clicking and dragging in the Inspector.
| | 06:52 | So obviously, I could sit here and
keep applying parameter behaviors and
| | 06:56 | different things all day long, but I
think you get the general idea of how to
| | 06:59 | use behaviors, and as you can see,
it's a very natural way to animate.
| | Collapse this transcript |
| Adding multiple behaviors| 00:01 | Using behaviors in Motion is
already pretty powerful, but when you
| | 00:04 | start layering behaviors one on
top of the other, things really start
| | 00:08 | to get interesting.
| | 00:10 | Now if you're following along from
the previous video I just want you to
| | 00:13 | understand that I went ahead and changed
some of the behaviors that I applied to
| | 00:18 | the different circles here, and I just
sort of tweak to the Apply mode as well
| | 00:22 | as the Amount and that sort of thing.
| | 00:24 | So to show you where we are right
now, I'm going to go ahead and press the
| | 00:26 | spacebar to begin playback, and as you
can see, we've got kind of a jiggle on
| | 00:31 | these different shapes that are kind of
distorting each of the circles to move
| | 00:35 | like bubbles, and this large center circle
here is just kind of sliding back and forth.
| | 00:40 | I want to layer some
different behaviors together.
| | 00:44 | Right now, since this large circle is
just kind of moving back and forth,
| | 00:48 | I want to go ahead and apply that same sort of
Random shape behavior to this shape as well.
| | 00:54 | So I can choose the one right from
this green circle and hold down Option and
| | 00:59 | click and drag to drag
that up to this other shape.
| | 01:02 | Now notice there is an order to how
this is actually been applied and for these
| | 01:08 | two behaviors, since they're not so
directly related, it's not going to make that
| | 01:12 | much of a difference, but as you start
layering behaviors, that's something that
| | 01:15 | you will want to kind of keep an eye on,
And don't worry; I'll show you some of
| | 01:19 | that as we continue on.
| | 01:20 | But for now, let's go ahead and
choose a slightly different Random Seed by
| | 01:25 | clicking the Generate button here,
and I'll just deselect just by clicking down
| | 01:29 | here in the Layers panel, and we can
see exactly where we are right now.
| | 01:32 | So as you can see, now I have got a
little bit more wobble to this circle and now
| | 01:38 | I'm actually ready to apply another behavior.
| | 01:41 | What we're going to do is actually
apply a behavior to this group as a whole.
| | 01:46 | Now I want this behavior to affect
each of the different objects within the
| | 01:51 | group slightly differently, and you can do
that with certain behaviors in the Library.
| | 01:56 | So let's jump to the Library and
under Behaviors, I want you to go to
| | 02:01 | the Simulations folder.
| | 02:03 | In here these different simulations are
designed to actually work with multiple
| | 02:07 | objects and they work
extraordinarily well when you apply them to groups.
| | 02:12 | Now the first one that I want to go ahead
and apply is this Random Motion behavior.
| | 02:17 | What it does, it just sort of
randomizes how this object is going to move.
| | 02:21 | So if we go ahead and click Apply,
since I already had that group selected, it
| | 02:26 | applied that behavior, and now you can
see it's just created this one sort of
| | 02:31 | random move. And if I deselect and
press the spacebar here, you can see they're
| | 02:35 | all moving in unison, and that's
not really what I'm going for.
| | 02:39 | So I'll just stop playback here and
select that behavior and in the Inspector
| | 02:44 | notice in the Behaviors area under Random
Motion. There is this option for Affect Subobjects.
| | 02:49 | If we go ahead and select that, now you
notice I've lost that motion path, but
| | 02:55 | if we go ahead and press the spacebar,
you can see now I'm getting random motion
| | 03:00 | within each of the different objects.
| | 03:03 | Now that's looking pretty cool, but it
is a little much for what I was looking
| | 03:06 | for, so I'll just go ahead and decrease
the Amount here, and I want to encourage
| | 03:12 | you to actually make these
adjustments as Motion is playing back.
| | 03:16 | So just for now I'm going to stop
playback, just so I can talk a little bit more
| | 03:20 | about the different options, and we won't be
distracted by all that pretty moving objects.
| | 03:25 | So we have the same sort of options that
we covered in the previous video as far
| | 03:29 | as the Amount, the Frequency, and the
Noisiness, but there is this other option
| | 03:33 | here called Drag, which sort of
controls the density of the movement.
| | 03:39 | Think of adjusting Drag sort of like
adjusting the viscosity of a liquid; if you
| | 03:43 | increase the Drag, the liquid gets more thick.
| | 03:46 | Also down here under Include you can
have the shapes only move on specific axes
| | 03:52 | just by selecting or
deselecting each one of these options.
| | 03:56 | So I'm just going to deselect the X,
because I just want these to sort of
| | 03:59 | randomly move around on the Y axis,
so let's go ahead and preview that
| | 04:03 | animation. And here I'm still getting
the oscillation of this one object in the
| | 04:08 | center here, but I'm still getting
randomization on the Y axis here.
| | 04:12 | It's kind of subtle, so I'll just go
ahead and bring the Amount up here, so you
| | 04:17 | can kind of see that it's really
just affecting on the Y axis here.
| | 04:22 | Now it's a little more apparent.
| | 04:24 | Obviously, I could go crazy and crank that
way up, but I think you get the general idea.
| | 04:28 | Now I want to add a
second behavior to this group,
| | 04:31 | so let's go back up under this
group, and this time in the Library under
| | 04:36 | Simulations I want to sort of blow these
objects across the screen by using the Wind behavior.
| | 04:42 | So down here under Wind it applies a
continuous force to push an object.
| | 04:47 | Now if we click Apply, that will go ahead
and push these objects, but it won't do
| | 04:52 | that until you actually open up the HUD.
| | 04:55 | So I'm going to click here, and you
notice in the HUD I have this circle. And if
| | 05:00 | you just click in the center of the
circle and drag out in a specific direction,
| | 05:04 | you'll notice that I can actually have
this move out in a specific direction.
| | 05:09 | So the longer I drag away from the
center the harder the wind is actually going
| | 05:15 | to blow, and this Zoom parameter
adjusts the sensitivity of that change.
| | 05:21 | So now see if I zoom in really close
here, I could really kind of blow these
| | 05:25 | way far off the screen. And notice as I
drag this arrow to the right, see these
| | 05:30 | little dots? These are letting me know the
speed at which these are going to be moving.
| | 05:34 | So the further the dots are apart,
the objects will be moving faster.
| | 05:38 | Now that's a little much, so I'm just
going to go ahead and drag this back down
| | 05:42 | and decrease my zoom here so
it's not quite as sensitive.
| | 05:46 | And again, since this is applied to
a group layer--I'm going to go to my
| | 05:50 | Inspector here and I'll close my HUD--
| | 05:52 | I want to choose Affect Subobjects again.
| | 05:56 | That way when the wind blows,
it's going to affect each object
| | 06:00 | slightly differently.
| | 06:01 | Now I could adjust the Air Thickness on
the X as well as the Y as well as the Z,
| | 06:08 | if we wanted to get to that parameter,
but I'll just leave that for right now.
| | 06:13 | As you can see, when you start actually
layering different effects on top of each
| | 06:17 | other, you can really start to create
some pretty realistic simulations that
| | 06:21 | would be pretty hard to achieve
by using keyframes by themselves.
| | 06:25 | Now, if you're unfamiliar with what
keyframes are, don't worry; we're going to get
| | 06:29 | to that in the next chapter.
| | Collapse this transcript |
| Trimming and sliding behaviors| 00:01 | So as you use behaviors, there will
definitely be times where you want to
| | 00:05 | actually trim when that behavior happens.
| | 00:08 | So as you animate your objects,
you know you can kind of tweak the
| | 00:12 | specific animation.
| | 00:13 | Now I want to draw your attention to
how some of the different behaviors
| | 00:17 | function, just so you can kind of
plan as you continue building our
| | 00:21 | graphics using behaviors.
| | 00:23 | So to show you what I'm talking about,
first thing, I'm going to go ahead and
| | 00:27 | select this Funky_Shape group.
| | 00:29 | This group contains all four of the spheres.
| | 00:33 | I want to go ahead and just have these
figures move from the left side of the
| | 00:38 | screen to the right side.
| | 00:40 | So to do that I'm going to go down here
on my behaviors button and go up under
| | 00:45 | Basic Motion and I'm going to choose Move.
| | 00:49 | Now the Move behavior is kind of
cool because it allows you to choose the
| | 00:54 | specific destination for your
behavior just by clicking on these different
| | 00:59 | control handles and repositioning the
end position of where you would like to
| | 01:04 | actually move that object.
| | 01:07 | I'm just clicking on X and Y handles
here. I'll have these move from this side to
| | 01:11 | that side, and notice when I apply the
behavior down here in the Mini Timeline,
| | 01:16 | this is letting me know exactly how long
it's going to take before those objects
| | 01:21 | reach the end of the behavior.
| | 01:23 | So if you press the spacebar to begin
playback, you'll notice as the circles
| | 01:28 | move across the page, once the playhead
gets right to the end there, it's going
| | 01:33 | to meet the final destination here.
| | 01:36 | So that's all well and good, and I'm
sure it makes total sense, but what if I
| | 01:41 | want this move to happen significantly faster?
| | 01:44 | Well, if I press Home to move my
playhead back to the beginning, I can press the
| | 01:47 | spacebar to begin playback, and let's
say I want these to be all the way to the
| | 01:52 | right side right now.
| | 01:53 | Well, since I stopped playback,
all I have to do is press O.
| | 01:56 | Since I have the behavior applied,
it's automatically going to trim the output in
| | 02:00 | that behavior to where my playhead is.
| | 02:02 | So now you notice the shapes
have moved to that new point.
| | 02:06 | Now the other thing that's really kind
of cool about this is the fact that this
| | 02:10 | behavior maintains that position even
after the end of the behavior has passed
| | 02:16 | in the Timeline, so let me
show you what I'm talking about.
| | 02:19 | If we move the playhead back to the
beginning and press the spacebar, you notice
| | 02:23 | they move and then they stop.
| | 02:26 | So as you can see, the Move behavior
is really helpful when you want to move
| | 02:29 | things around the screen.
| | 02:31 | Now I know your keyframe fanatics applies are
probably sitting there thinking to yourself,
| | 02:34 | well, that just moved
and then slammed to a stop.
| | 02:38 | Well, you can definitely adjust the
motion of how this move happens by looking
| | 02:43 | at the parameters for this behavior.
| | 02:45 | So I'm going to go ahead and press
Command+3 to open up my Inspector. And in
| | 02:49 | the Behaviors section here notice under
Direction I have it set to go to a specific point.
| | 02:56 | I can have it actually move from a
specific point. Or down here, I can adjust the
| | 03:02 | speed, so by default it set up to constant.
| | 03:05 | Well, if I choose Ease Both what it's
going do at the beginning of my animation,
| | 03:10 | it'll slowly accelerate and then
slow down to the end of the animation.
| | 03:14 | Just like moving in your car,
you accelerate, and then you stop, and it's smooth
| | 03:18 | one way and the other,
so the Move behavior is great.
| | 03:21 | Now if I want to go ahead and use Wind
to achieve kind of a similar effect but
| | 03:26 | have each of the objects slightly
moving differently because of the Effects
| | 03:31 | Subobject option, let's see what happens.
| | 03:35 | Let's deselect to the Move
behavior here, just by clicking on its
| | 03:38 | visibility check box there.
| | 03:40 | Now you notice that
behavior has absolutely no effect.
| | 03:44 | To apply the Wind--I have the group
selected here, go up and select it, here we go--
| | 03:49 | I'll go to Simulations and choose Wind.
| | 03:53 | Now Wind is kind of funny because I
need to open up my HUD and specify the
| | 03:58 | direction I'd like the wind to blow,
and here looking at this motion path, I can
| | 04:03 | see exactly how far
they're actually going to move.
| | 04:05 | Now if I turn on my Effect Subobjects
option, it will adjust and move each one of
| | 04:11 | these objects slightly differently.
| | 04:13 | Now if I go ahead and press the spacebar,
we can preview the animation, and notice
| | 04:18 | much like move, it actually automatically
applies the behavior, so it takes place
| | 04:23 | over the end of the Timeline.
| | 04:25 | Well, if I want this to actually stop,
let's say, here, but I want the circles to
| | 04:31 | be all the way over there at this point,
| | 04:34 | if I press O, look what happens.
Nothing happened, and you would think if we go
| | 04:39 | ahead and preview this that the wind
would actually stopping applied after the
| | 04:44 | end of the behavior,
but that's just not the case.
| | 04:47 | Wind are just one those behaviors where it
really doesn't matter how you trim the behavior,
| | 04:52 | it's just going to be applied or not applied,
so just kind of wanted you to be aware of that.
| | 04:58 | Now the last behavior we're
going to cover in this section is the
| | 05:01 | Grow/Shrink behavior.
| | 05:02 | So let's go ahead and deactivate Wind.
| | 05:05 | Now let's go to Behaviors and go up
under Basic Motion and choose Grow/Shrink.
| | 05:13 | So again, it's applied over the entire
length of the comp, and I want to go ahead
| | 05:18 | and scale this to a specific value.
| | 05:21 | So let's scale it up about 46%.
And again, since these shapes were created within
| | 05:27 | Motion, I'm not going to lose
any quality as the scale moves up.
| | 05:32 | Now, let's preview this animation.
| | 05:39 | Okay, that's all well and good, but I
want this to scale up really quickly,
| | 05:43 | let's say in the first second here,
so if I move my playhead to one second and I
| | 05:48 | press O to trim the
out point of that behavior,
| | 05:51 | now I notice it's
actually scaled all the way up.
| | 05:54 | Now just to show you how the entire
project looks, let's go and press F6, so you
| | 05:59 | can see in the Timeline
here how everything is set up.
| | 06:02 | I'm just going to go ahead and adjust
the scale of the Timeline here by clicking
| | 06:05 | and dragging up with the cursor.
| | 06:07 | So here you can see I've got my random
shape behaviors applied to each of the
| | 06:11 | different layers, but I also have my main
group here and my Grow/Shrink behavior applied.
| | 06:18 | Well, let's preview what
that actually looks like.
| | 06:22 | I'm just going to click on a project
layer here, just so nothing is selected in
| | 06:26 | my canvas and press Home, and now
let's go ahead and press the spacebar to
| | 06:30 | preview this animation.
| | 06:33 | And look what happens. When you
actually trim the Grow/Shrink behavior,
| | 06:37 | it doesn't keep the end parameter set
up the way that you'd expect it to;
| | 06:42 | it just disappears.
| | 06:44 | So what you need to do to adjust
the Grow/Shrink behavior is select the
| | 06:48 | behavior. You can leave it set
over the duration of the project,
| | 06:51 | so I will just leave it set over the
five seconds, but there is this one
| | 06:56 | parameter here under Grow/Shrink called
End Offset and what this does, it allows
| | 07:00 | you to offset from the end of that behavior.
| | 07:04 | So let's say I want the scale to
actually arrive at three seconds.
| | 07:11 | As I adjust this offset, this is
directly related to the number of frames in the
| | 07:18 | composition. So if I start at the back
of the comp here, and it's two seconds
| | 07:24 | back from five seconds to the three seconds,
| | 07:28 | if I look at the Frame Rate, it's 59-94,
so I would need to actually adjust the
| | 07:34 | End Offset to something around 120.
| | 07:36 | Now notice as I adjust to this End
Offset--it ends at 100--you can go pass to
| | 07:42 | that slider just by clicking and
dragging right on that one number.
| | 07:46 | So now as I preview this, just by
scrubbing my playhead, notice it stops right at
| | 07:52 | three seconds because I've
adjusted the End Offset 120 frames.
| | 07:57 | So I'll just deselect everything by
selecting my project layer, and let's move
| | 08:03 | our playhead back to the beginning.
| | 08:05 | I'm going to go ahead and press F6 and
F5, so we can hide the different panels
| | 08:11 | and get a good look at our animation,
and press the spacebar here, so you can see
| | 08:16 | exactly how things were applied.
| | 08:19 | Now you notice that I had that same
sort of abrupt stop with that Grow/Shrink
| | 08:23 | behavior, and yes, with that behavior
selected, I could go back and adjust its
| | 08:27 | ease-in and ease-out, but I
think you get the general idea.
| | 08:31 | As you trim behaviors, you want to pay
specific, close attention to exactly what
| | 08:36 | behavior you're using and how
it's actually going to be applied.
| | Collapse this transcript |
| Using custom presets to create a slideshow| 00:01 | Now the first time I ever launched
Motion I got really excited about the
| | 00:04 | possibility of being able to create
custom slideshows for still images quickly
| | 00:09 | and easily using behaviors.
| | 00:11 | If you've ever tried to achieve
that kind of Ken Burns effect, creating
| | 00:15 | different moves on still images before,
you know using keyframes can sometimes
| | 00:20 | be a rather painstaking task, especially
when each of the images are a different size.
| | 00:25 | So what we are going to do is use behaviors
to adjust some of these moves on these images.
| | 00:32 | The nice thing, we'll be able to save
those moves to use in future projects.
| | 00:36 | So before we get started actually
adding the behaviors, go to Motion and go
| | 00:42 | to the Preferences.
| | 00:43 | There is a setting that's
really, really important
| | 00:45 | I want you to pay attention to, and it's
under the Project section of your Preferences.
| | 00:52 | Down here at the bottom there is an
option to scale your large stills to
| | 00:58 | the size of the canvas.
| | 01:00 | Now if you have large images that are
larger than the size of the canvas then I
| | 01:06 | suggest to go ahead and turn this on.
| | 01:08 | You can have Motion do absolutely
nothing, but I typically recommend turning
| | 01:13 | this back on. Just generally be aware
of the size of the image that you are
| | 01:18 | bringing into your project.
| | 01:20 | Now, let's go ahead and bring an
image in, and I am going to talk to you a
| | 01:23 | little bit about resolution
and how Motion handles things.
| | 01:26 | So if you navigate in your exercise
files to the Media folder, in there you
| | 01:31 | should see a folder for Stills.
| | 01:33 | Now in here you'll see multiple stills.
You'll notice up here at the top that I
| | 01:39 | get the width and the height of each image,
| | 01:42 | but I don't get an option for the
actual PPI or the DPI of the image,
| | 01:49 | and that's because Motion doesn't
pay attention to that information.
| | 01:52 | It's just looking at the height and the width.
| | 01:55 | Now as you click through the Library
here and see different images, pay
| | 01:59 | attention to the size, but also I want
you to go down here to the bottom and
| | 02:03 | make sure that this button
right here is not selected.
| | 02:07 | See, when it's blue it's selected,
and the reason you don't want it selected,
| | 02:12 | what this does is it collapses image sequences.
| | 02:16 | So if you shot a bunch of images in
sequence on your camera and they end in
| | 02:21 | consecutive numbers, if this button is
selected, you won't see each individual image.
| | 02:26 | So to get started, I am just going to
add a couple of images to our project.
| | 02:30 | I will start with this one, Amber,
and I'll just drag it right over into the canvas.
| | 02:37 | Okay, now let's go down here, and I'll
just add this image, okie doke, and then here, I can
| | 02:46 | add another image, And I'm choosing
these images because of their different
| | 02:51 | sizes, so I can illustrate a point.
Now typically, you know when you're creating a
| | 02:54 | slideshow on that kind of thing,
you want to add the images in the order you
| | 02:59 | would like to actually have
them appear in the slideshow.
| | 03:02 | But for this purpose again I am just
dragging these in so we can kind of
| | 03:05 | see what's going on.
| | 03:06 | Now go and press Shift+Z to
automatically resize the Scale of the canvas,
| | 03:13 | and I will press Command+1 to hide my File Browser
so we can see things a little bit better here.
| | 03:19 | Now you notice with this image
actually selected, it scaled the height so it
| | 03:25 | lines up, but there's extra room on the width.
| | 03:28 | So actually if you press Command+3
to open up your Inspector and go to
| | 03:32 | Properties section, you'll notice that
the Scale of this image overall is 46.88%.
| | 03:37 | If I click on this one, the Scale is
all the way down to 35. Now I can't see
| | 03:43 | that image because this other image is
on top. If I go ahead and select this
| | 03:48 | last one it scales at 100%, and notice
it doesn't even fill the entire screen.
| | 03:53 | So it's really important if you're
trying to do full-screen moves on your
| | 03:57 | images, you want to make sure that
the images are at least large enough to
| | 04:00 | achieve that effect.
| | 04:02 | So in this instance if this were a
project that I really needed this specific
| | 04:06 | picture, I would go back and ask the
client for a high-res version. Or if I were the
| | 04:12 | photographer, I would just go take
another version that's high resolution.
| | 04:16 | So to delete this I am just going to
press Delete, and just so that we have
| | 04:19 | three images, I'll choose another
image that's a little larger here.
| | 04:23 | Okay, so I can drag and drop
that right now onto my canvas.
| | 04:28 | Okay, so before we apply the behaviors,
I want to do one thing, and that's
| | 04:32 | actually determine how long I want
each image to appear on the page.
| | 04:37 | Now typically, I would select all the
images and have them appear sequentially
| | 04:43 | in the same amount of time and then
kind of go back and adjust accordingly if I
| | 04:47 | need an image to be on screen longer,
but for this purpose let's go ahead and
| | 04:51 | move our playhead to around two seconds.
| | 04:54 | Now I want all of these layers to trim
out at two seconds, so I am just going to
| | 04:59 | press O on my keyboard.
| | 05:01 | Now to make sure that all of the
layers trimmed, let's press F6 to open
| | 05:04 | the Timing panel, and you can see, yeah,
all three layers have actually been trimmed.
| | 05:11 | Now for this first image, this Pablo
and Cindy image, I want there to be a move
| | 05:18 | in, so in order to do that,
we will apply a basic behavior.
| | 05:22 | So I'm just going to press Command+1 to
hide the left side of our interface, and
| | 05:28 | here we'll go to Behaviors >
Basic Motion > Grow/Shrink.
| | 05:32 | Now if you open up the HUD, you can
specify that you want the image to grow.
| | 05:38 | And I want to go ahead and move my
playhead back to the beginning. Since I don't
| | 05:42 | want these edges to appear on the
screen, I'll hold Shift and Option so the
| | 05:49 | image can scale out from the center
point, and I will scale it out so the left
| | 05:54 | and right edges are already off the canvas.
| | 05:57 | Now when we go ahead and press the spacebar,
you'll notice that the image is scaling up.
| | 06:02 | So that kind of works, but I need it
to actually move down on the image as
| | 06:07 | well, and since I want this to be a generic move,
I want to go ahead and use a Throw behavior.
| | 06:13 | So I go up under the behaviors, I can go
to Basic Motion, and throw this on a 2D
| | 06:20 | axis, and I'll just throw it down a little bit.
| | 06:23 | And to see exactly how far down, if you
move your playhead all the way to the
| | 06:27 | end and just drag down, here, this way you can
see exactly where the image is going to move.
| | 06:34 | That's looking pretty good.
| | 06:35 | I actually need to bring the
Grow/Shrink down a little bit, so we can still
| | 06:38 | fit both of our people on the screen,
and here in the HUD I can switch back
| | 06:45 | to Throw and just have it go down
a little bit, and let's go ahead and preview this.
| | 06:50 | Since I'm only working in the small area,
let's reset the preview range. If you
| | 06:55 | press Command+Option+0, that will
reset your preview range, and now I have a
| | 07:02 | really good move that's happening right here.
| | 07:04 | So with this first move actually achieved,
I can go ahead and tweak the next moves.
| | 07:11 | Now I think you understand how to
apply the behaviors and change those
| | 07:15 | parameters. What I am going to do
right now is actually save this so you'll
| | 07:19 | understand how to save a preset.
| | 07:21 | So I'll select both of these behaviors and
press Command+2 to the open up the Library.
| | 07:27 | Now in the Library, you want
to go the Favorites folder.
| | 07:32 | With the Favorites folder selected, go
ahead and drag both behaviors down over
| | 07:37 | to the Favorites folder, and then if
you don't move for a minute, you'll notice
| | 07:41 | you have an option: you can import
multiple files, which means it'll save both
| | 07:46 | the Throw and the Grow separately,
or you can actually choose All in one.
| | 07:52 | I want to choose All in one because
I want it to be saved as one move.
| | 07:55 | So when I do that, it's Untitled.
| | 07:58 | So if you just right-click and then
say Rename right on the behavior, we can
| | 08:04 | call this Zoom Down.
| | 08:07 | Now if I want to apply that to the
next image, I can go ahead and look for
| | 08:11 | another image that that might work with.
| | 08:15 | I think this one will work here a little bit.
| | 08:17 | What we want to do to scale this image up,
there we go, and now just drag the
| | 08:22 | Favorite right onto the new image.
And if we move our Playhead back to the
| | 08:27 | beginning here, we can preview, and you notice,
ah, it didn't quite work, but that's okay.
| | 08:34 | We can just select the Throw behavior,
open up the HUD again, and adjust the
| | 08:40 | zoom down a little bit, there we
go, and you get the general idea.
| | 08:47 | Now I hope you found that as
exciting and helpful as I did.
| | 08:50 | If this is something you think you
might use, I want you to go ahead and create
| | 08:53 | your own set of custom presets
to use for your next big slideshow.
| | Collapse this transcript |
|
|
4. KeyframingAnimating manually using keyframes| 00:01 | Now if you've been at animation for
a while and are kind of an old-school
| | 00:04 | animator, you probably find it rather
curious that we aren't talking about
| | 00:09 | keyframes until Chapter 4 in this title.
| | 00:11 | That's just because Motion was designed
to primarily create animation through
| | 00:16 | the use of behaviors.
| | 00:17 | While behaviors are awesome, by no
means does that actually eliminate the
| | 00:21 | need to be able to specify exactly where
something should be at a specific point in time.
| | 00:27 | See, that's when you want
to actually use a keyframe.
| | 00:29 | So those of you who are unfamiliar
with the term keyframe, all it means is
| | 00:33 | that you're recording a specific setting
for a parameter at a specific point in time.
| | 00:38 | Now whether that parameter is the
color value of a circle or the position of
| | 00:43 | that object in the screen or the
value of the amount of blur on the Blur
| | 00:48 | Filter, whatever it is, you can
typically add a keyframe for it in Motion.
| | 00:52 | So what we are going to do in this
project, with these circles, we'll actually go
| | 00:56 | ahead and have these animate up from 0%
scale up to 100%, so they kind of look
| | 01:02 | like they're popping on screen
sort of like a bubble pops into view.
| | 01:06 | Now we will do that by adjusting the
Scale parameter like I just talked about.
| | 01:10 | So let's press F5 to open up our
Layers panel and in here select the third
| | 01:15 | circle down--that will be this large circle here.
| | 01:18 | Now to add a keyframe to a specific
parameter you want to jump to the Inspector,
| | 01:22 | and within the Inspector, you want to
go to Properties section, and that'll
| | 01:25 | show you your Transform options,
and in here we want to adjust Scale.
| | 01:29 | Specifically, we want to adjust Scale as
a whole, so we don't need X, Y, and Z,
| | 01:33 | so let's just go ahead and
collapse that disclosure triangle.
| | 01:36 | Now any time you hover over each one
of these different channels within the
| | 01:40 | Inspector, you may notice next of the values
this plus symbol with the diamond around it.
| | 01:46 | What that's letting you
know is you can add a keyframe.
| | 01:49 | Now it's important when you add a
keyframe to pay attention of exactly where
| | 01:53 | your Current Time Indicator is, which
happens to be right here at frame 0.
| | 01:57 | So with my playhead at frame 0, I'm
actually going to go ahead and add my first
| | 02:02 | keyframe by clicking that symbol.
| | 02:04 | Now since I've added that keyframe
and the value is at 100%, things aren't
| | 02:10 | quite set up properly yet.
| | 02:11 | I need to actually change
the Scale back down to 0.
| | 02:15 | Now I've added a keyframe. If we go ahead
and press spacebar to see what's going
| | 02:19 | on, notice nothing is happening.
| | 02:21 | Now nothing is happening because
I have only added one keyframe.
| | 02:25 | Now, you know you can see which
parameters currently contain keyframes in the
| | 02:30 | Inspector just by looking at this right column.
| | 02:33 | See how there's that diamond?
| | 02:35 | That's letting me know that there is
a keyframe on the Scale parameter, but
| | 02:38 | unfortunately, there is only one keyframe.
| | 02:41 | See, you need to have two keyframes on
a parameter with different values before
| | 02:45 | you'll actually get animation.
| | 02:47 | So with my playhead here at frame 47,
I am just going to go ahead and add a
| | 02:52 | second keyframe at a different value.
| | 02:55 | Now, this is where something kind
of interesting happens with Motion.
| | 02:59 | If I went to change this
parameter up to 100%--actually, let me just
| | 03:04 | double-click and type 100--
| | 03:05 | when I move my playhead back to the
beginning and press Play, you notice what happened.
| | 03:11 | Well, it hasn't scaled.
| | 03:13 | See, if you don't add the second
keyframe before you change the parameter,
| | 03:19 | it will actually change the first
keyframe value, which I know is kind of
| | 03:23 | frustrating, and seems like it's
counterintuitive, but trust me this is just how it works.
| | 03:29 | So what I want to do is move my playhead
back to frame 47, double-click in the
| | 03:33 | numbers there and type 47.
| | 03:35 | I'll move my Scale parameter back down
to 0, and now at frame 47 I am going to
| | 03:41 | go ahead and add another
keyframe just by clicking that button.
| | 03:44 | Now since I have added my second keyframe,
if I change that parameter--okay, let
| | 03:48 | me go ahead and change it to 100--
| | 03:51 | now I actually have animation achieved.
| | 03:54 | Now to move my playhead back to the
beginning, I could press Home, but I could
| | 03:58 | also click this little blue arrow.
See how it turns blue when I hover over it?
| | 04:02 | To the left of the keyframe, if you
click on that, that will actually move your
| | 04:06 | playhead down to the previous keyframe.
| | 04:09 | Now to visually see where all the keyframes
resided in your project, you want to press F6.
| | 04:14 | making sure you have the
Timeline open, and then press Command+8.
| | 04:19 | See, when you have an object selected
in the Timeline, you can see the object,
| | 04:24 | but to be able to actually edit the
keyframes, you want to open the Keyframe
| | 04:28 | Editor, which you can do using
Command+8. Now I'm just currently seeing these
| | 04:32 | lines, what I need to do is
double-click on this little magnifying glass to
| | 04:37 | reframe this scene. And so it's kind of
hard to see, but I can see the right edge
| | 04:41 | of the first keyframe and
then my second keyframe there.
| | 04:44 | So if I click these navigation arrows
which appear to the left and right of my
| | 04:49 | Scale keyframes, you can see that I'm
moving the playhead back and forth between
| | 04:54 | the two different keyframes.
| | 04:56 | Now, if I want to take these keyframes
and apply them to a different object in
| | 05:01 | my scene, I can do that by selecting
the keyframes in the Keyframe Editor.
| | 05:07 | I am just going to click and drag to
create a lasso around both keyframes.
| | 05:11 | As I am looking at this, it's kind of
hard to see both keyframes, but in the
| | 05:15 | Keyframe Editor here, all keyframes
look like this diamond. But when a keyframe
| | 05:20 | is applied to frame 0, you're only
going to see one half of the keyframe.
| | 05:26 | So it's kind of hard to see.
| | 05:27 | If I zoom in here, you can maybe see it
a little bit better, but it's still that
| | 05:32 | same one half of this diamond.
| | 05:34 | So when I'm drawing the lasso,
I'm literally clicking and dragging to draw the
| | 05:38 | Lasso around both keyframes, and now
with both keyframes selected, I can just go
| | 05:43 | up under Edit and choose Copy.
| | 05:45 | If I go to a different circle--let's say
I select this yellow circle right here--
| | 05:50 | I can choose Paste, by going
up under Edit and choose Paste.
| | 05:55 | Now I want you to pay attention.
When I did that, it actually pasted two
| | 06:00 | keyframes, as you can see here in the
Keyframe Editor. See how it's a little
| | 06:03 | easier to see the first keyframe now?
| | 06:05 | It put them both down based on where
the playhead currently resided, so I have
| | 06:11 | two keyframes here, and they
don't start until frame 47.
| | 06:15 | Now, if I scroll my playhead down the
Timeline here, you can see I've got a
| | 06:20 | slight issue because this second
keyframe is scaling up to a full 100%.
| | 06:25 | Well, when we first opened the project,
this sphere, or circle, wasn't at 100% scale,
| | 06:32 | so we need to adjust the second keyframe.
| | 06:35 | This is really important.
| | 06:36 | When you're adjusting keyframes in
Motion you want to make sure to position
| | 06:39 | your playhead directly over that keyframe.
| | 06:42 | The easiest way to do that is to use
these keyframe navigation arrows that we
| | 06:46 | use a little bit earlier in the Inspector.
| | 06:49 | So here next to the keyframe, I am
going to click this left arrow to move my
| | 06:52 | playhead back to the second keyframe,
and now I can just click and drag directly
| | 06:56 | on the number value to bring
that back down to where it was.
| | 07:00 | Now I didn't make an exact note as to
the specific size of that circles, so I am
| | 07:05 | just going to guesstimate
that it was right around 60%.
| | 07:09 | So now, in order to preview this, I am
just going to scrub, so you can see that
| | 07:13 | it's still scaling up from 0, and if I
move my playhead to the second keyframe
| | 07:19 | here, you can see it's set at 60.
| | 07:21 | Now I know my playhead is currently on
that second keyframe because I see the
| | 07:25 | brightly colored keyframes populating
both my Keyframe Editor and right there in
| | 07:31 | the parameter of the Inspector.
| | 07:34 | So, adding keyframes in Motion is
pretty straightforward once you actually get
| | 07:39 | the hang of it, but basically you
should use keyframes anytime you want to
| | 07:44 | record a specific value at
a specific point in time.
| | Collapse this transcript |
| Using the Record button| 00:01 | Be aware, I am warning you now,
using the Record button in Motion can be
| | 00:06 | addicting, and it's sometimes
actually a little dangerous.
| | 00:10 | I know it sounds ridiculous, but if
you don't pay attention what you're doing,
| | 00:13 | you could end up with keyframes all
over the place and one heck of a strange
| | 00:17 | animation on your hands.
| | 00:19 | So when you go to actually use the
Record button in Motion, first thing I want
| | 00:24 | you to do is determine whether you are
a Final Cut editor or a Motion designer.
| | 00:30 | The reason I'm saying that in Motion the
A key is mapped to your Record button,
| | 00:36 | and sometimes as a Final Cut editor,
that can be a little bit annoying because
| | 00:40 | A will bring up your Selection tool.
| | 00:42 | In Motion, A brings the Record button up.
| | 00:46 | Now I'm going to go ahead and leave
that set up that way, but if you're a Final
| | 00:50 | Cut editor, you can change the keyboard
settings. Just go back to that video in
| | 00:56 | the Getting Started chapter and you'll
see how to change those settings, but
| | 00:59 | for now, let's move on.
| | 01:01 | I pressed A to turn on my automatic
keyframing, so that's how I remember it:
| | 01:07 | A for the automatic keyframing.
| | 01:09 | Now if you go to the Inspector, you can
animate any of the properties that are
| | 01:15 | currently populating that screen,
and the only way to get properties is to
| | 01:18 | actually select something.
| | 01:19 | So I'm going to press F5
and select this large circle.
| | 01:25 | Now I want you to notice that all the
different parameters that I can keyframe
| | 01:29 | currently are colored red.
| | 01:31 | That's letting me know that anytime
I adjust any one of these parameters,
| | 01:35 | a keyframe is automatically going to be added.
| | 01:39 | So if I want to scale up this circle
over time, if I press A, it'll turn on
| | 01:45 | automatic keyframing, and now I
can just adjust the overall scale by
| | 01:50 | double-clicking on the value and just
type zero, and notice I've automatically
| | 01:55 | set my first keyframe.
| | 01:56 | Now, I'll just move my playhead forwards,
okay, 34 frames. Just move it down the
| | 02:02 | Timeline; the frame doesn't
necessarily matter right now.
| | 02:04 | I'm going to go and add a second
keyframe here, and let's do 120, and I'll move
| | 02:12 | the playhead down just a little
bit more and change that 100.
| | 02:17 | The reason I added three keyframes,
I want this circle to pop onto the scene
| | 02:22 | and to accentuate that move,
I went ahead and added three keyframes
| | 02:27 | so it kind of popped pass the value
that we want and then ended on a value.
| | 02:31 | Now to see the actual values of the
keyframes over time, again press F6 to open
| | 02:36 | up your Timing panel and
Command+8 to open up your Keyframe Editor.
| | 02:41 | To reframe the keyframes, just double-
click the magnifying glass here, and you'll
| | 02:46 | see here are my last two keyframes,
and again the first keyframe is just kind of
| | 02:50 | a half keyframe, so you're just going
have to trust me that it's actually there.
| | 02:53 | If you want to see keyframes in the
Timeline, you can actually turn that on just
| | 02:59 | by clicking this button up here.
| | 03:02 | So here, now I can see really
quickly that I have three keyframes.
| | 03:07 | You're thinking to yourself, wow, you know
the automatic keyframe button, pretty cool.
| | 03:11 | Yeah, it's great when you remember that
it's on, but if I just left this on and
| | 03:18 | continued working throughout the
project, anytime I changed any other parameter
| | 03:22 | on any other object, I would create a keyframe.
| | 03:25 | So let's say I just, I don't know,
moved this sphere just to see you know what it
| | 03:30 | look like maybe over on this side,
and then let's say I grab this yellow sphere
| | 03:34 | here and moved it over there.
| | 03:36 | Now, one of the nice things I really
like about this latest version of Motion
| | 03:40 | is the fact that I can very clearly see
that I'm adding keyframes through these
| | 03:46 | large arrow-type pop-ups that happen.
| | 03:49 | These are the different keyframes
| | 03:50 | showing me I have a keyframe at the start,
and then I have a second keyframe here.
| | 03:54 | But regardless, I am randomly adding
keyframes all over the place, and I don't
| | 04:00 | necessarily want to do that, so I'm
just going to press A to turn that off.
| | 04:04 | And if you press the Home button, move
your playhead back to the beginning, and
| | 04:08 | if we preview our animation, you can
see the large circle popped up, but then I
| | 04:13 | still have this random set of
animations that's happened because of leaving the
| | 04:19 | automatic keyframing on.
| | 04:21 | Now when things like this happen,
there is a way to fix it. Obviously, I could
| | 04:26 | Command+Z to undo what I just did, or I
could select the individual object and
| | 04:33 | notice that I've
positioned keyframes set up here.
| | 04:36 | I could click on this pulldown menu and
when that pops up I can just say Reset
| | 04:40 | Parameter, and notice it
automatically placed that sphere right back at the
| | 04:46 | default setting of 0, 0, which
is the origin of the composition.
| | 04:50 | So I can move this back over here
and then do kind of the same thing with
| | 04:54 | this purple circle. Let's go ahead
and reset that parameter, and I'll move
| | 04:58 | that back over to this side. There we go.
| | 05:01 | Now if I want to preview this
animation I can go ahead and check it out, and
| | 05:05 | there you can see what's going on.
| | 05:07 | Now one last thing. I'm going to show
you a great, fast, and easy way that you can
| | 05:12 | wrangle in control of the
Automatic Keyframe button.
| | 05:16 | If you double-click the button,
you'll actually get the recording options, and
| | 05:20 | the two things you want to look
at are these two options down here.
| | 05:24 | Don't record keyframes during playback,
this way you can accidentally add any
| | 05:29 | random keyframes. Even if automatic
keyframing is selected, it won't record any
| | 05:34 | keyframes as the project is playing
back, and the second one, which is what I
| | 05:38 | find most helpful, is Record
keyframes on animated parameters only.
| | 05:43 | See, what this does is it requires you
to actually cognitively add your first
| | 05:48 | keyframe by selecting the parameter,
and clicking on it in the Inspector to
| | 05:52 | create your first keyframe.
| | 05:54 | Then any other time you go back to
that parameter if the playhead is at a
| | 05:58 | different point in time,
it'll add another keyframe.
| | 06:01 | For those of you After Effects artists,
this is probably how you're very familiar with working.
| | 06:06 | Once an initial keyframe has been set,
you can automatically add keyframes
| | 06:11 | for that parameter,
| | 06:12 | again, based on whether or not the
playhead is currently in that position.
| | 06:17 | Using the Automatic Keyframing
button can actually be a very rewarding
| | 06:21 | experience as long as you pay
attention to some of the different recording
| | 06:24 | options, so you can kind of wrangle things in.
| | Collapse this transcript |
| Manipulating keyframes with the Keyframe Editor| 00:00 | No doubt, the first time you create an
animation based off keyframes you'll
| | 00:05 | want to go back and
actually change that animation.
| | 00:08 | See, that's just a normal part of
the process when you're creating
| | 00:11 | animations using keyframes.
| | 00:13 | You get the base animation set up,
| | 00:15 | and then after you have that rough, you
go ahead and adjust those keyframes to
| | 00:19 | create your finished, polished animation.
| | 00:22 | So for this animation, let's go ahead and press
the spacebar and see what we are dealing with.
| | 00:27 | As you can see, we have a
rather robotic animation.
| | 00:30 | There are a couple of things I want to fix.
| | 00:32 | First thing, I don't like how each one
of these circles are coming in the scene
| | 00:36 | and then just abruptly stopping.
| | 00:39 | Secondly, I don't like how slow this
larger circle is moving in order to scale
| | 00:45 | into the scene. I want it
to pop in there kind of quickly.
| | 00:48 | So let's get started by making an
adjustment to this larger circle.
| | 00:53 | I am going to press F5 to open up the
Layers panel, and I'll select this larger circle--
| | 00:58 | it's the third one down here. And if
you press Command+8, that'll open up
| | 01:03 | your Keyframe Editor.
| | 01:05 | Now within the Keyframe Editor,
I want you to click on this curve set right
| | 01:09 | here, this button that says Animated.
| | 01:11 | If I click on it, you notice I've got
all these different things right here, and
| | 01:16 | these are called curve sets.
And basically, if you choose Animated, any object
| | 01:21 | that already has a keyframe
applied to it will populate this scene.
| | 01:26 | You can choose something else like
Rotation that doesn't have any keyframes
| | 01:29 | and it will give you the value of
that speed, which is set to zero, but it
| | 01:35 | won't show you any keyframes, because again,
this parameter doesn't contain any keyframes.
| | 01:39 | So let's go back to Animated, and I
like how this actually kind of over-modulates as it pops in.
| | 01:47 | That's really nice, but I want
this to happen much more quickly.
| | 01:51 | I could click on a keyframe and just
start moving it in the Timeline, but you
| | 01:55 | notice I have my X keyframe, which is
separate from my Y, which is separate from
| | 02:00 | my Z, and all that stuff.
| | 02:01 | I don't really like just clicking on
one and dragging. What I want to do is
| | 02:05 | select all of these and then compress,
or stretch, how those keyframes are moving
| | 02:11 | through the Timeline in proportion to
each other, and the way you do that is
| | 02:15 | with this tool right here.
| | 02:17 | See, it's the Transform Keyframes tool
and if you go ahead and click on that,
| | 02:23 | it'll give you crosshairs that you
could then in turn draw over the keyframes,
| | 02:27 | and now you get a
bounding box for the keyframes.
| | 02:30 | So, within the bounding box, I could
kind of scale things up just by clicking on
| | 02:34 | the corner, or I could adjust how
things move on the time overall, just by
| | 02:40 | clicking on this right handle.
| | 02:42 | So since I want this to be faster, I'll
just move it further up in the Timeline.
| | 02:46 | Now we've shortened this significantly.
| | 02:49 | Now once you've finished adjusting,
you want to go back and make sure that you
| | 02:53 | have your Edit Keyframe tool selected.
| | 02:55 | Now if I press my Home button
and the spacebar, you can see boom!
| | 02:59 | It's popping up in the scene.
| | 03:00 | Still a little slow, so I'll
just grab that tool one more time,
| | 03:03 | see if I can speed it up a little bit more.
| | 03:06 | That should work for now.
| | 03:07 | Let's look at how we can actually polish
the animation of these other two objects.
| | 03:14 | Well, in order to change how these move,
we need to adjust something called the
| | 03:18 | keyframe interpolation.
| | 03:20 | Notice when I have this yellow circle
selected, you can see the motion path
| | 03:25 | that's actually moving throughout the
scene, and these darker dots in the middle
| | 03:29 | of the line are showing me
how fast it's actually moving.
| | 03:32 | Now if you look in the Keyframe Editor,
you can see it's moving in a linear
| | 03:35 | fashion, just because of how
this line is actually moving.
| | 03:39 | Now since I only have two different
values on the X axis, even though I have
| | 03:44 | four keyframes populating my Keyframe
Editor, notice it's only the X options
| | 03:50 | here that I'm seeing that drastic change.
| | 03:54 | Now, in order to smooth things
along, I want to ease my animation.
| | 03:58 | Now those of you who are coming from
After Effects should be very familiar with
| | 04:01 | this term, but basically what you
want to do is select the keyframe.
| | 04:04 | I am going to choose this first
keyframe here. And just so I can actually
| | 04:08 | see things a little better after I select that,
I am going to click this button right here.
| | 04:14 | See, this will fit the curves to the window.
| | 04:16 | So when I click on that, it
sort of maximizes this window.
| | 04:20 | Another way you can adjust this
is by clicking on the scale here.
| | 04:23 | I like clicking the button because it
actually moves the zoom so I can see
| | 04:27 | things more clearly.
| | 04:28 | You can do the same thing here by
autoscaling the curves vertically, and now
| | 04:33 | I've got things more optimized.
I can see exactly what's going on.
| | 04:37 | Now with that first keyframe selected,
if I can go ahead and Ctrl+Right-Click, I
| | 04:41 | can choose Ease Out, and what this is
going to do, it will ease the X position
| | 04:47 | out of its current
stagnant state into the animation.
| | 04:51 | So when I do that, notice I get a nice
smooth move into the animation, but I
| | 04:56 | still have a rather abrupt ending.
| | 04:59 | So if I right-click here, I could choose
Ease In, but notice that's kind of changed this.
| | 05:06 | So what I want to do is actually just
select both of these keyframes. And if you
| | 05:12 | right-click or Ctrl+Click on one of them,
instead of messing with the eases, if
| | 05:16 | you go to Interpolation,
change it from Bezier to Continuous.
| | 05:20 | What this will do is allow Motion to
automatically figure out how you're trying
| | 05:25 | to ease things and set up
the animation accordingly.
| | 05:29 | Now the disadvantage to this not being a
Bezier curve is the fact that you can't
| | 05:34 | actually go in and adjust handles.
| | 05:37 | So to show you handles, we'll make an
adjustment to the purple sphere, but for
| | 05:41 | right now, let's go ahead and just see
what this new animation is looking like.
| | 05:46 | And already you should notice a
significant improvement. Okay, there we go.
| | 05:53 | Now if you are seeing stuttering,
that's just playback for the preview.
| | 05:58 | If you press Command+R, you can load a
RAM Preview, and then nine times out of
| | 06:02 | 10, it will play back perfectly seamlessly.
| | 06:05 | So let's select the purple circle here,
and let's look at some of the different options.
| | 06:11 | Again, I'm just going to click on
the Fit Curves in Window button to
| | 06:15 | automatically reframe where I am
looking in the scene. Ad now instead of
| | 06:19 | actually having Motion automatically
interpret what's going on, I want to
| | 06:24 | actually control the specific Bezier
handles, and in order to do that, if you
| | 06:29 | hold the Command key and then click
and drag on a keyframe, you can get a
| | 06:34 | control handle that pops out.
| | 06:36 | So in here, what I'm doing is
just easing this manually myself.
| | 06:41 | I can do the same thing with the first keyframe.
| | 06:43 | Again, I'm holding Command, click and drag.
| | 06:46 | Now I've actually got precise control over
how this is animating using Bezier handles.
| | 06:54 | So there we go.
| | 06:55 | Now the last thing we need to do is
actually move the keyframes so they aren't
| | 07:01 | all animating at the exact same time.
| | 07:03 | I like where the first bubble is popping in,
| | 07:07 | so let's just kind of move the purple
one to come in next and then the yellow
| | 07:12 | one to come in last.
| | 07:13 | So the easiest way to do this is just
adjust the magnification back on the
| | 07:17 | Timeline here, and I'll select the
first gray circle and make a note of where
| | 07:23 | the last keyframe is.
| | 07:24 | Well, it's right here at nine frames.
| | 07:26 | So that's pretty darn quick.
| | 07:28 | So I am just going to move my
playhead down here to around 28 frames and
| | 07:33 | select our purple sphere.
| | 07:36 | Now, I can see my two keyframes here--
| | 07:39 | I am just going to go ahead and draw
lasso around those--but I'm also going to
| | 07:43 | hold the Command key and click on the
yellow sphere, just so I can see how these
| | 07:49 | two are working in conjunction with
each other. And as you can see, they are
| | 07:53 | both actually animating,
one right on top of each other.
| | 07:56 | Unfortunately, when I reselected
both layers in the Layers panel, it
| | 08:00 | deselected the keyframes
| | 08:01 | I had set up for the purple circle.
| | 08:04 | So what I am going to do is actually
select the keyframes for the yellow circle
| | 08:08 | just by clicking and Shift+Clicking
on these parameters, and now I can see
| | 08:14 | exactly which ones I want
to move in the Timeline.
| | 08:18 | So it's these keyframes and if we move
our playhead towards the end here, if I
| | 08:23 | click on one and start to move,
it's not going to move, so what I actually need
| | 08:27 | to do is just turn off the Purple
keyframes for a second--and I'll reselect those
| | 08:33 | keyframes--and just drag the
keyframes down the Timeline.
| | 08:36 | Now it's really important as you start
to drag--see, I'm having issues here, let
| | 08:41 | me undo--before you start to drag, you
want to make sure all the keyframes are
| | 08:46 | selected and hold down Shift on your keyboard.
| | 08:49 | That way when you start to drag you
won't accidentally change the value of that
| | 08:53 | parameter; you're just
having it slide down the Timeline.
| | 08:58 | Now, I can go ahead and turn off the
yellow circle visibility after I move my
| | 09:02 | playhead down to the end of
that animation. There we go.
| | 09:07 | So with the purple circle set up,
I can select all four keyframes, hold down
| | 09:11 | Shift, and start dragging down for that.
| | 09:15 | Now if we turn on both, you can see
I've got one set followed by the next set.
| | 09:20 | Now there's an easier way of actually
adjusting this, other than just within the
| | 09:26 | Keyframe Editor, and that
happens when you open the Timing panel.
| | 09:30 | If you press F6, that will open your
Timing panel and if you're not seeing
| | 09:34 | it, press Command+8 to hide your Keyframe
Editor and then press F6 to open the Timing panel.
| | 09:41 | So with the Timeline open,
notice there's this button right here.
| | 09:45 | If I click on this button, it will
actually show me those keyframes, and yes,
| | 09:49 | I can actually select those keyframes right
here in the Timeline and drag them accordingly.
| | 09:56 | You just want to make sure to select one
and then press Shift to select the next one.
| | 10:01 | So as you can see, you can create your
polished, finished animation by making
| | 10:05 | your final adjustments to your
keyframes within the Keyframe Editor.
| | Collapse this transcript |
| Combining keyframes and behaviors| 00:01 | When it comes to combining keyframes
and behaviors, you're actually getting
| | 00:04 | the best of both worlds by getting
the precise control through keyframe
| | 00:08 | animation and combining that with some
of the more organic animations you can
| | 00:13 | create by using behaviors.
| | 00:15 | So for this project, if you press
the spacebar, you can see a preview of
| | 00:20 | absolutely zero animation. So what's
happening here, the scene is just waiting
| | 00:25 | for us to start our animation,
so let's press F5 to look at what we have got
| | 00:30 | here. As you can see, we have our
background layer and we have our four circles.
| | 00:35 | Now I want to go ahead and create an
animation where the circle pops under the
| | 00:40 | scene and then kind of shakes a little bit.
| | 00:42 | So I'll use keyframes to create the
precise scale from 0 up to 100, and then
| | 00:48 | we'll use a parameter behavior to
create kind of a wriggle. Just so we can focus
| | 00:53 | on things more closely, I'm going to
turn off the visibility of all the other
| | 00:57 | circles except for this purple one,
Then we select the purple layer, go to the
| | 01:02 | Inspector, and let's make sure we are
in the Property section of the Inspector,
| | 01:07 | and let's create a keyframe animation.
| | 01:09 | Move your player back to the beginning
by pressing the Home key and press A to
| | 01:13 | turn on your automatic keyframe.
Let's adjust the Scale of this down to 0.
| | 01:20 | Now move your playhead further down the
Timeline, let's say to about 1 second.
| | 01:26 | Now at 1 second let's change our Scale
back up to around 66%, which is kind of
| | 01:32 | where we were before.
| | 01:34 | Now we've actually created our first
animation. If you press Home and then the
| | 01:38 | spacebar, you'll see the circle scales right up.
| | 01:41 | Now what we need to do is add
kind of wriggle effect to this scale.
| | 01:47 | Now, before I go do that, I want to make
sure to turn off automatic keyframing, so
| | 01:51 | I'll just click on the button in the Timeline.
| | 01:53 | Now just because I'm kind particular
with my keyframe animations, I want to move
| | 01:58 | my playhead back to the second keyframe
by clicking this little left arrow here
| | 02:02 | to the left of the scale keyframe.
| | 02:04 | That way I know this is where
I want the wriggle to start.
| | 02:08 | So if you Ctrl+Click or Right-click on
the word Scale, you'll get this contextual
| | 02:13 | menu that pops up, and what you want to
do is Add a Parameter behavior, and here
| | 02:17 | we can choose the wriggle effect.
| | 02:20 | Now but what this actually going
to do is create kind of a shake.
| | 02:25 | The Apply mode, I want it to be both
Add and Subtract, so it'll scale up and it
| | 02:30 | will scale down. You won't actually
see any animation until you increase the
| | 02:35 | amount of the wriggle.
| | 02:37 | Now also, we want to trim the start
point of this behavior, because I would like
| | 02:43 | this to scale without any wriggling
going on whatsoever, so let's press I.
| | 02:48 | I will automatically trim the in point
of that behavior since I already had it
| | 02:52 | selected in the Layers panel.
Notice it updated here in my Mini Timeline.
| | 02:57 | Now if I deselect that layer so I
don't see any bounding box, press Home, and
| | 03:02 | preview the animation, you'll see I
have the precise animation of the scale
| | 03:07 | actually popping up, combined
with the power of the wriggle.
| | 03:12 | Now I want to take things one step
further by decreasing the wriggle over time,
| | 03:17 | and the easiest way to do that is to
actually keyframe the parameter within the
| | 03:22 | wriggle behavior. So we have keyframes to start,
| | 03:25 | we have a behavior to finish, and then we're
actually keyframe a parameter of the behaviors.
| | 03:31 | So let's position our playhead to
around two seconds, and let's add our first
| | 03:37 | keyframe for this wriggle amount. I can
just click this plus button right next to
| | 03:43 | the parameter, and I want this to stop
wriggling by about 225, so I just drag
| | 03:50 | down the Timeline. And we'll add our
second keyframe just by clicking Add a
| | 03:54 | Keyframe, and now I can just
change this amount back to 0.
| | 03:59 | So if we scrub through, you can see I
have got my wriggle happening, and then
| | 04:03 | it slowly subsides.
| | 04:06 | Now one of the things I like to do with
behaviors if it's set at a 0 number when
| | 04:11 | it's finished, I do like to trim the
out point. So I'm going to position my
| | 04:16 | playhead to a little bit after the
second wriggle keyframe and press O. That's
| | 04:21 | just going to trim that behavior,
and that way I know it's definitely gone, but
| | 04:26 | the problem with that is this:
it really compressed that end of that wriggle
| | 04:31 | parameter, and that's not
what I want, so let's undo that.
| | 04:36 | What you need to do is actually just
sort of be aware that yeah, you've added
| | 04:42 | those keyframes, but if you do trim
that out point of one of this parameter
| | 04:46 | behaviors, it will scale any keyframing
that you've done based on the percentage
| | 04:53 | of scale difference you've created over
the length of that behavior. So let's go
| | 04:58 | ahead and deselect the
behavior and preview our animation.
| | 05:04 | Now obviously, we can continue tweaking
this by making several adjustments, but I
| | 05:10 | think you can see just how precise you
can be by using your keyframe animations
| | 05:15 | and just how powerful it is when you
combine behaviors to just add that one
| | 05:20 | extra bit of organic animation.
| | Collapse this transcript |
|
|
5. Working with TextAdding and formatting text| 00:00 | If you're a designer who loves type,
you'll probably get a kick out of setting
| | 00:04 | type and creating some
different type styles within Motion.
| | 00:08 | The interface is really slick,
and it's pretty easy to get stunning
| | 00:11 | results rather quickly.
| | 00:13 | So let's go ahead and
create our first piece of type.
| | 00:17 | Just press T on your keyboard to grab
the Type tool, and you'll notice the cursor
| | 00:23 | turn into this little I-bar here,
and you just want to go ahead and click
| | 00:26 | anywhere where you'd like to add some type.
| | 00:29 | So I'm going to add some
type up here in the upper left.
| | 00:32 | If you just click in the Canvas, notice
the cursor will start blinking and now
| | 00:36 | you can start setting type.
| | 00:38 | As you enter type, go ahead and use the
Return key to create new lines of type.
| | 00:43 | Just remember when you're finished, go ahead
and press Enter on your keypad to set the type.
| | 00:49 | Once the type is set, if you need to
go back and make edits, like I do here--
| | 00:53 | I have to add the e at the end
of welcome--all you have to do is just
| | 00:58 | double-click within the bounding box and
you'll automatically select all the type.
| | 01:03 | Now if I just click once within this
area, I can pop up my cursor and just use my
| | 01:09 | arrow keys on my keyboard to
navigate to the end of the word Welcome.
| | 01:13 | When I type e to set this type, I'm not
going to press Return; again, I'm going
| | 01:18 | to press Enter on my keypad.
| | 01:20 | If you want to preview different
kinds of typefaces, you should probably
| | 01:25 | just pull up the HUD.
| | 01:27 | This is pretty easy to do if you use F7.
| | 01:30 | Press F7 on your keyboard.
| | 01:33 | If the F7 key is mapped to something
like rewind, you might want to use the
| | 01:38 | function key as you press F7,
but regardless, here is our HUD.
| | 01:43 | And here I can access all kinds of
different things, like the Opacity, the blend mode.
| | 01:52 | I can choose different styles of type,
which we'll get to in a little bit, and I
| | 01:57 | can choose the typeface.
| | 01:59 | The first thing I want to do is
scroll through some different typefaces.
| | 02:03 | Notice all I'm using is the scroll
wheel on my mouse to scroll up and down
| | 02:09 | through the different options, and notice
it just updates dynamically within the scene.
| | 02:16 | So once I get a typeface that I like--I'm
actually just going to stick with this Futura--
| | 02:22 | I can go ahead and press Enter,
and that will set that typeface.
| | 02:26 | Now as I'm looking at this,
the weight is all kinds of off.
| | 02:30 | I have "Welcome to" on the top line and
"the" in the middle line and "Studio" at the
| | 02:33 | bottom, so I do want to reformat this.
| | 02:36 | I'll just double-click again in the
bounding box and press Delete to delete the
| | 02:42 | space and Return to return to the next
line. And then I'll arrow down to "the"
| | 02:47 | and then press Delete to
move "the" up to the next line.
| | 02:52 | If I want these letters "to" and "the" to
be smaller than "Welcome" and "Studio," I'm
| | 02:58 | going to navigate to the right side of
those letters and hold down Shift as I
| | 03:04 | start using the left arrow
to select back over the text.
| | 03:08 | Now with that text selected, I can just
click and drag on the Size parameter and
| | 03:13 | notice it will adjust the size of this type.
| | 03:17 | If you're having the hard time making
precise adjustments here, if you hold down
| | 03:21 | the Option key and click to the left
or to the right of the slider button, you
| | 03:26 | can move in one-point increments.
| | 03:29 | So I'll go ahead and just
bring this down a little bit here.
| | 03:32 | So that's looking relatively okay,
but what I need to do is adjust the space
| | 03:37 | in between the lines.
| | 03:39 | And the way I can do that is by adjust
the line spacing, but before I do that, I
| | 03:43 | want to set the type by pressing
that Enter button on my keypad.
| | 03:48 | Now when I adjust Line Spacing it's
going to adjust the spacing over all of
| | 03:53 | the lines as a group.
| | 03:56 | So as I'm looking at this, I still do
need to make an adjustment to the placement
| | 04:00 | of these middle two words
| | 04:03 | "to" and "the," but in order to do that,
I shouldn't be making adjustments to the Line Spacing.
| | 04:09 | What I need to do is adjust the
baseline of just this one line of type.
| | 04:14 | In order to have more precise control,
instead of making adjustments in the
| | 04:19 | HUD, I'm going to press the i button in the
upper-right corner of the HUD to open the Inspector.
| | 04:25 | When I close the HUD, you'll see we
have the Text section selected and under
| | 04:30 | Format, I have a ton of different options.
| | 04:36 | If you are using this type for use in
Final Cut Pro, you want to make sure that
| | 04:41 | this selection is selected, Editable in FCP.
| | 04:45 | It's turned on by default, but I just
wanted to draw your attention to it.
| | 04:48 | Now to set this one line of type on a
slightly different baseline, what I need to
| | 04:53 | do is double-click in the box again--
| | 04:56 | that will automatically bring up my
Type tool--and select all the lines of type.
| | 05:00 | And really all I want to do is just click
and drag to select this middle line of type.
| | 05:05 | With that selected, I have an
option to adjust the baseline.
| | 05:09 | If I drag the left, it moves down;
| | 05:11 | if I drag to the right, it moves up.
| | 05:14 | So I'll just bring it up a little bit,
and that way I can set the baseline for
| | 05:20 | this type. And if I press Enter on
my keypad to set it, we are all set.
| | 05:25 | If you want to be able to view the type
without seeing this bounding box, if you
| | 05:31 | go up under View, you could turn off
Handles and you could turn off Lines and
| | 05:38 | that way you can actually see the type
while you're still making adjustments
| | 05:42 | here in the text area.
| | 05:44 | One last thing to kind of tweak
with this specific layout of the type.
| | 05:49 | I want to change exactly where "Welcome" starts.
| | 05:54 | In order to do that, again, I need to
double-click to select all the type and
| | 05:59 | place my cursor up to
the left side of this line.
| | 06:04 | In here I have an option for
Advanced Formatting and if you open up the
| | 06:10 | disclosure triangle, you see I can
adjust this on the X. And if I click and drag,
| | 06:15 | I can adjust on the X axis and bring
Welcome over to the left side here.
| | 06:21 | Now this is just a stylistic layout
thing. By no means is this precise, correct
| | 06:27 | typographic layout, blah, blah, blah.
| | 06:28 | I just kind of wanted to move that to
the side to create a specific effect.
| | 06:33 | Once that's set up, I can go
ahead again and just press Return.
| | 06:37 | So feel free to go through here and
look at some of the different options, but
| | 06:43 | all in all, as you can see, there are a
ton of different options for laying out
| | 06:49 | your format of the type.
| | 06:52 | If we go to Layout, there are some
other options that we can adjust, and most of
| | 06:57 | these have to do with actual animation
of the type. But the one thing that I
| | 07:02 | want to show you in here is
this down here for Type On.
| | 07:06 | Notice I have Start and End and if I
just click and drag and adjust the End
| | 07:11 | parameter here, you'll notice that
the type actually starts to disappear.
| | 07:16 | That's because if you keyframe this
parameter, you can have it type on to the
| | 07:22 | scene or type out of the scene.
| | 07:25 | So Type On is kind of a neat way of
creating animation without having to use
| | 07:29 | any text behaviors, and it's still
something that pops up here in your Layout
| | 07:35 | options for your text.
| | 07:36 | So as you can see, it's pretty easy to
add type and format the type however you
| | 07:41 | need within Motion, but if you want
to add some Style, there is a whole
| | 07:46 | different section in here which
we'll actually jump to in the next video.
| | Collapse this transcript |
| Using text styles| 00:00 | If you are joining me from the last
video, I want to draw your attention to the
| | 00:04 | fact that I've gone to the View Options
here and re-enabled Handles and Lines.
| | 00:10 | That way when the Type layer is
actually selected, we can easily see
| | 00:15 | exactly what's selected.
| | 00:16 | Since we're all here to learn about
stylizing the type, let's go ahead and
| | 00:20 | select the Type layer and go to the Inspector.
| | 00:23 | Make sure you're in the
Text section under Style.
| | 00:26 | Under Style here, you'll notice we
have a bunch of different options.
| | 00:29 | We could adjust the face, the outline,
| | 00:32 | we could add a glow, we could add a drop shadow,
and there are a whole bunch of options
| | 00:37 | underneath all of these.
| | 00:38 | But before I get to doing that, I want
to take you through a typical process
| | 00:43 | that I would go through when I'm setting Type.
| | 00:46 | First one, do I really need to add
style to the Type? Because honestly, some
| | 00:51 | people kind of overdo stylizing of Type,
and sometimes that can cause issues with
| | 00:57 | eligibility or even compression, if
you're compressing this to the web or for
| | 01:02 | broadcast or different things like that.
| | 01:04 | Usually with a background as busy as
this I would try and stick with a more
| | 01:08 | clean, simple layout, just kind
of the way that I have it now.
| | 01:11 | But since I really want to push this
way over the top, I do want to stylize
| | 01:16 | this a little bit more.
| | 01:17 | Also, when I'm setting type I'm
considering, okay, how am I going to animate this?
| | 01:22 | And as I am looking at this Type,
since the word STUDIO is dominant, I want
| | 01:26 | to actually have completely separate
control over that when it comes to the animation.
| | 01:31 | In order to do that, rather than just
selecting individual lines of type and
| | 01:36 | stylizing each line separately, which
I could do, I am just going to separate
| | 01:40 | the word STUDIO out from the
intro text of "Welcome to the."
| | 01:46 | So in order to do that, I'll just
double-click right inside the Type box there
| | 01:51 | and I'll just make sure that I have
STUDIO selected by clicking and dragging.
| | 01:56 | If I press Command+X, that will go
ahead and delete that last line by cutting
| | 02:02 | it out of that group.
| | 02:04 | Now, I am just going to press the
Delete key once to make sure I don't have any
| | 02:07 | extra spaces, and just press
Enter on your keypad to set this.
| | 02:12 | In order to add the next line of type,
I am going to press T to grab my Text
| | 02:17 | tool and click in the canvas and
when I press Command+V to paste,
| | 02:22 | there, now I have a completely
separate line of type for the word STUDIO.
| | 02:27 | Now I can go ahead and animates this
and stylize this slightly differently.
| | 02:32 | Let's first deal with stylizing "Welcome to the."
| | 02:36 | In order to add a little bit more pop to
this and sort of blend it just a little
| | 02:41 | bit into the background, I want to add a glow.
| | 02:45 | To add the glow, just click the box
to the left of the word, and it takes a
| | 02:50 | second, but it did add a Soft Glow to that type.
| | 02:54 | You may notice this R pop up, and what this
is telling me is the type is now rasterized.
| | 03:01 | Usually you want to try and not have
things rasterize as you continue adding
| | 03:05 | different elements, but this was
probably caused by compositing this with 2D
| | 03:11 | layers and 3D layers and some of the
different options that I'm really not going
| | 03:16 | to get into right now.
| | 03:17 | The biggest thing you want to do when
you notice something is rasterized is
| | 03:21 | just change the magnification to 100% and
look closely at it and see if it works for you.
| | 03:27 | Right now, I'm not seeing any bad
jagged edges. All I see is a slight glow, so
| | 03:33 | I'm fine with the fact that this is
rasterized and since I am not going to be
| | 03:36 | zooming in on this type, we're good to go.
| | 03:39 | Now, with the Colors options here,
let's go ahead and pop the radius of this
| | 03:44 | glow out just a little
bit and increase the blur.
| | 03:48 | Now that is starting to look
absolutely ridiculous, but in order to fix that,
| | 03:52 | I'll change the Color to a more white
color, and that's fine. and let's just
| | 03:58 | bring the Opacity down a little bit.
| | 04:00 | So what this is going to do is just
sort of add a slight blur to the type, but
| | 04:05 | it's just sort of blending it
into the background a little bit.
| | 04:08 | I can add visual interest and make
somebody actually read these words by the
| | 04:13 | style of the animation.
| | 04:15 | As far as stylizing these two
lines of type, we're good to go.
| | 04:19 | With STUDIO I want to do
something a little bit more over the top.
| | 04:24 | Let's look at adding a
gradient through this line of type.
| | 04:27 | And to do that I could choose the Fill
options right here in the Face section of my style.
| | 04:34 | So if I click under Fill
Width, I have an option.
| | 04:37 | I can choose Gradient or Texture.
| | 04:40 | Just to show you really quick if I chose
Texture, I could drag an image right in
| | 04:44 | from the Finder and have that
image populate through the Type.
| | 04:48 | I am not going to do that right now.
| | 04:50 | I just want to choose Gradient for right now.
| | 04:52 | And with the gradient, notice I
have these colors that popped up.
| | 04:56 | This Gradient tool you'll see repeated
throughout many different elements in
| | 05:01 | the interface, from the particle generator, to
the replicator, to the inside of a text layer.
| | 05:08 | Let's look at how the
Gradient controls actually function.
| | 05:11 | If I open the disclosure triangle here,
you'll notice these two main lines.
| | 05:17 | Let's start with the top up here.
| | 05:19 | This first one controls Opacity.
| | 05:21 | So if I click on this little chip
right here in the upper left, notice when I
| | 05:26 | click on it, the Opacity actually pops
up. And if I drag that down to 0, you'll
| | 05:32 | notice the word actually disappears.
| | 05:35 | When you have one chip, it's going to
control the overall opacity of that gradient.
| | 05:42 | If you want the word to fade in,
what you need to do is click in this bar
| | 05:47 | just anywhere else.
| | 05:48 | So I'm going to click over
here on the left-hand side.
| | 05:51 | The way this works is
left to right, top to bottom.
| | 05:55 | Notice when I clicked in here it
automatically added a second chip, which is
| | 05:59 | selected, and it's called Opacity2,
and here I can crank the Opacity back up.
| | 06:04 | So now, if I drag this first Opacity
parameter closer over to the left, notice
| | 06:10 | it's starting to chop off
the top of the words, see?
| | 06:15 | I don't want to do an opacity gradient
so what I'm going to do is actually just
| | 06:19 | get rid of this left one by dragging
up out of the way, and notice I get the
| | 06:24 | poof animation and it's gone.
| | 06:26 | I can do the same thing with this other
chip, but I'll just drag it over to the left.
| | 06:31 | I want to choose a different color gradient.
| | 06:33 | In order to do that, I could choose
Custom Colors by clicking in the Color
| | 06:36 | Chip and then adjusting my sliders or just
quickly right-clicking within the color well.
| | 06:43 | Let's go ahead and do this
funky yellow. That's great.
| | 06:47 | And then here I can do the
same thing right within the chip.
| | 06:50 | If you just right-click, it's kind of a neat,
fast way of quickly changing the colors here.
| | 06:58 | So here I'll do this kind
of pinkish, purpley color.
| | 07:02 | That's kind of over the top, but to keep
pushing it, I want to go ahead and add a glow.
| | 07:09 | To enable the glow, we can just go
ahead and click right on that and then the
| | 07:13 | glow will pop out from the word.
| | 07:15 | Now, I want to adjust the color of
this glow and, again, enabling Glow has
| | 07:20 | rasterized this type.
| | 07:22 | I think that's totally fine for right now.
| | 07:24 | I want the glow to be kind of a bluish tint,
so I'm going to go to the blue color here.
| | 07:30 | And let's increase the Blur
so it's really kind of soft.
| | 07:35 | And adjusting the Radius just really
adjusts the intensity right out of where
| | 07:41 | the glow is coming from.
| | 07:43 | And as I am looking at this, that's
really kind of funky, and what I want to do
| | 07:48 | is actually have a
gradient move throughout the glow.
| | 07:51 | And to do that, you guessed
it, a Fill with Parameter,
| | 07:55 | I could go ahead and change that to a gradient.
| | 07:58 | In doing that, notice now I have the
color changing from this light blue on the
| | 08:03 | left to a dark blue on the right,
and that's kind of giving me more of a look
| | 08:08 | that I'm looking for.
| | 08:09 | If we scroll down here, there is another
option that I could enable for the type
| | 08:14 | within the style itself, and that's Drop Shadow.
| | 08:17 | So if I add a drop shadow on here,
notice now I've really got this type kind of
| | 08:22 | popping off the screen.
| | 08:24 | First thing I want to do is adjust
the actual blur on this, because that's
| | 08:29 | a little too harsh.
| | 08:30 | Now to make this pop even more, I can
adjust the scale of the type itself.
| | 08:35 | And one of the things I want you to be
aware of when you're manipulating type is
| | 08:41 | there is an option for the
actual format of the type itself.
| | 08:47 | If I go to Scale, it will go
ahead and scale up like that.
| | 08:51 | But there is also the scale that
pops up within the actual layer that the
| | 08:56 | type layer inhabits.
| | 08:57 | So if I scale that up,
that's also increasing the scale.
| | 09:01 | So just keep in mind there are
several redundant controls that can actually
| | 09:06 | pop up when you are making
adjustments to type within the different layer
| | 09:12 | hierarchies within Motion.
| | 09:14 | I am just going to center this type a
little bit on this sphere, and I'll grab
| | 09:20 | the "Welcome to the" type and just have
that sort of populate over here on the
| | 09:25 | left and scale this down,
making sure to hold Shift+Option.
| | 09:29 | And just to have a better idea as to
what I'm looking at, I'll zoom out here.
| | 09:33 | You can see Welcome to the STUDIO.
Let's go ahead and just really pop this out
| | 09:37 | so it's really large.
| | 09:38 | The last thing I want to do to blend
this into the scene is just adjust the
| | 09:43 | overall blend mode of the type.
| | 09:46 | So here under the Properties section of
the Inspector, if I add something like
| | 09:51 | Multiply or Screen, notice it is
applying the blend mode throughout all of the
| | 09:59 | adjustments that we made
within the style of the type itself.
| | 10:03 | That's really kind of cool that you
can generate all those different colors
| | 10:06 | and things like that and still
have the blend mode function properly
| | 10:11 | throughout the application.
| | 10:14 | Let's deselect and check
out what we've got here.
| | 10:17 | That's a little stylized for my
personal pleasure, but as you can see, when it
| | 10:22 | comes to actually stylizing type and
laying things out, creating heavily
| | 10:27 | stylized type within Motion is just a
matter of clicking through the different
| | 10:32 | properties in the Inspector
and getting what you like.
| | Collapse this transcript |
| Formatting with the Transform Glyph tool| 00:00 | I like to think of working with the
Transform Glyph tool as a kind of hands-on
| | 00:05 | approach to formatting and animating type.
| | 00:08 | If you have always kind of looked at
the computer interface and thought, jeez!
| | 00:13 | it would be really nice if I could just
reach in there and grab that one element
| | 00:16 | and sort of move it around,
| | 00:18 | with tablets, I know it's getting close,
but really, especially when it comes to
| | 00:22 | formatting type, that tactile nature
of positioning and moving things around
| | 00:26 | really isn't there, and the Transform
Glyph tool is the only thing I've found that
| | 00:31 | really kind of makes that possible.
| | 00:33 | So to show you what I am talking about,
let's look at our Studio project here.
| | 00:37 | If you have been following along,
you've seen how we built some of these
| | 00:41 | different elements. And if you try
and create playback right now just by
| | 00:46 | pressing the spacebar, depending upon your
system, the playback is probably pretty darn slow.
| | 00:52 | As I'm looking at this, I realize
exactly where this is laid out on the screen,
| | 00:57 | and really what I want to do is
create a different layout for each of these
| | 01:01 | letters for the word Studio, and I want
that layout to be completely random, kind
| | 01:05 | of like they were strewn about on a
floor, if you will. I am going to have
| | 01:10 | each of the letters sort of
flip up and that sort of thing.
| | 01:12 | We are not going to animate right now.
| | 01:14 | We are just going to get comfortable
transforming and moving these letters.
| | 01:17 | But before we can do that, we do need to
deal with the fact that playback is
| | 01:21 | relatively slow, and also
the background is pretty busy.
| | 01:26 | Just so we can focus on this one layer
of type, go ahead and select the STUDIO
| | 01:31 | layer and press Ctrl+S. What that's
going to do is solo this one layer.
| | 01:37 | Now, as you are working, you don't want
to forget that you did solo the layer,
| | 01:41 | but this is a great way of being
able to focus on just one specific layer
| | 01:46 | without having to have everything else going on.
| | 01:48 | Now to bring up the Transform Glyph
tool, all you have to do is press Tab on
| | 01:52 | your keyboard and cycle through
until you get these control handles.
| | 01:57 | If I click and hold down here on my
Transform tool, well, you'll see the
| | 02:03 | Transform Glyph tool.
| | 02:05 | What this is doing,
| | 02:06 | it's giving me control handles for
each individual letter. So it's nice.
| | 02:10 | I can select any letter and use the
typical Transform controls that I use for
| | 02:16 | any other layer in the project.
If I want to rotate this on the Z axis,
| | 02:21 | if I hover over this circle, I can just
rotate this individual letter on the Z axis.
| | 02:26 | Here I can have it spin forward.
| | 02:28 | That looks pretty neat. Move around.
| | 02:31 | So even though I don't have a camera in
my scene, I can still move this around
| | 02:36 | in three-dimensional space.
| | 02:37 | So I am going to tilt this back.
| | 02:39 | You can feel free to distort
your letters however you like.
| | 02:42 | Here, let me rotate this around so you can see.
| | 02:44 | If you click on the corner of one of
your handles in the bounding box, you
| | 02:48 | can adjust the scale.
| | 02:50 | Now notice as I adjust the scale of
this one letter, it is kind of making the
| | 02:53 | rest of the word move around,
and that's just because it is trying to keep the
| | 02:58 | same spacing that we had laid out, and that's
perfectly fine based on what I am trying to do.
| | 03:02 | I just want to move this letter S down.
| | 03:06 | As I'm looking at the word here, what if I
want to distort two letters the same way?
| | 03:13 | Let's click on the O and then hold the
Command key down and click on the U. Now
| | 03:18 | I have two letters selected, so when I
start doing the transforms, it's actually
| | 03:23 | adjusting both letters accordingly.
| | 03:27 | Now if you want to see exactly what
you're manipulating once you pull up the
| | 03:31 | Transform Glyph tool, open up your HUD,
press F7 on your keyboard, and here
| | 03:38 | you'll notice at the bottom we have an
option for the Transform Glyph Attribute,
| | 03:42 | and notice it's rotating around the local axis.
| | 03:45 | I can have it rotate around
the world axis or the view axis.
| | 03:49 | If we weren't looking at it from straight
on, we could adjust it based on the view.
| | 03:54 | But I will just leave it
for Local Axis right now.
| | 03:56 | So once you have these two letters
set up the way that you like, let's work
| | 04:01 | on these last three.
| | 04:03 | As we've distorted these letters and
repositioned them, I think things are
| | 04:06 | looking kind of interesting, but I
think it would be a lot more fun if we could
| | 04:10 | actually move the glow separate from the
letters. And yes, with this tool, you can do as well.
| | 04:16 | If you go down under the Attribute
section, under Transform Glyph, go ahead and
| | 04:19 | click on the pulldown, and here you
notice I can move the Face, the Outline, the
| | 04:24 | Glow, or even the Drop Shadow.
| | 04:26 | So I know I have a Glow applied.
| | 04:27 | I will go ahead and choose Glow,
and here notice how the bounding box changed.
| | 04:31 | This just allows me to actually distort
only the glow for this individual letter.
| | 04:37 | So this is kind of neat.
| | 04:38 | We can get a double-layered effect.
| | 04:41 | You can use this background glow to kind
of give a 3D perspective to the letter.
| | 04:48 | Based on the fact that I moved the glow
back like this, what I want to do is actually
| | 04:52 | go back and select the glyph itself,
and I'm going to spin it forwards.
| | 04:58 | Now notice, even after I've done the
one adjustment to the glow, it actually
| | 05:02 | does maintain its distortion
in perspective to the rotation.
| | 05:07 | So I will just spin that T down, so that way,
as it starts to stand up, the glow moves behind.
| | 05:14 | Now I want you to go through yourself
and click on the D and the I and adjust
| | 05:19 | things accordingly to your specific
taste, because in the next video we are
| | 05:24 | actually going to cover how to create
an animation once you've set all these
| | 05:30 | different distortions.
| | Collapse this transcript |
| Animating text| 00:00 | Now if you are joining me from the
last video, you know exactly where we are.
| | 00:05 | But if you just jumped straight to
this video, let me get you up to speed.
| | 00:09 | As you can see here, I've got this
word STUDIO, and the letters are all strewn
| | 00:14 | about and basically that happened
because I was using the Transform Glyph
| | 00:19 | tool to be able to actually click on each
individual letter and address the transformations.
| | 00:25 | In this video, what we are going to
do is animate this type as well as
| | 00:29 | another line of type.
| | 00:30 | As I am looking at the screen here, you'll
notice that all I am seeing is this one layer.
| | 00:37 | That's just because this layer has been soloed.
| | 00:39 | So press Ctrl+S with the Studio layer
selected and now we'll see all the other
| | 00:45 | layers that were underneath.
| | 00:48 | I soloed the layer for two reasons.
| | 00:50 | The first one, when you solo a layer
it increases performance significantly
| | 00:55 | because Motion isn't having to try and
play back all the other layers below.
| | 00:59 | As you can see, this is pretty intensive.
| | 01:02 | With most Motion graphics projects,
you'll end up with a lot of different
| | 01:06 | layers and real-time playback
may be kind of hard to come by.
| | 01:09 | So what you need to do is just
solo the layer that you're working on
| | 01:13 | and continue working.
| | 01:15 | So let's get started animating this type.
| | 01:17 | If you select the Studio layer,
Shift+Click, and then select the other text layer,
| | 01:21 | "Welcome to the," and press Ctrl+S,
we can solo both those letters.
| | 01:26 | I'm just going to click anywhere off of the
layer in the Layers panel and just select
| | 01:31 | the Studio layer again.
| | 01:33 | Since we did start using the Adjust
Glyph tool to actually adjust the position
| | 01:39 | here, we're going to go ahead and
create the animation using that tool as well,
| | 01:43 | and the way we'll do that is
by using automatic keyframing.
| | 01:46 | So press A on your keyboard to enable
Automatic Keyframing and then press Tab to
| | 01:51 | scroll through until you get to the
Adjust Glyph tool, which is down there, you
| | 01:57 | can see, it's the T with
the lines on either side.
| | 02:00 | Now before we start our first keyframe,
it's really important to pay attention
| | 02:03 | where the playhead is.
| | 02:05 | And as you can see, my
playhead is just about at 2 seconds.
| | 02:08 | So what I need to do is set my
first keyframe at the beginning of the
| | 02:13 | composition, because I want the type to
actually start kind of like this and then
| | 02:18 | resolve to an actual legible word.
| | 02:22 | So to set our first keyframe, let's go
to the Start, and now all we have to do
| | 02:27 | is just toggle a slight
change with any of the letters.
| | 02:32 | And whenever you do that, that's
automatically going to add a keyframe for that letter.
| | 02:37 | So notice I am just barely rotating
these and kind of rotating them back.
| | 02:41 | The D and the I, let's change how
those are set up, so they actually have a
| | 02:46 | little bit more dynamic
animation. There we go, okay.
| | 02:53 | So it's actually going to start like this.
| | 02:56 | As I clicked through, I am not sure if
I had a keyframe on U, so I am just going
| | 02:59 | to double check and click on that.
| | 03:03 | We have our first keyframe set.
| | 03:05 | Let's move down the Timeline to set our
second keyframe and in turn create our animation.
| | 03:10 | Go to one second, and now the easiest
way to get this legible again is to
| | 03:15 | actually just reset all the parameters back
to the beginning so the word will look normal.
| | 03:20 | And to do that, with the first letter
selected, just go to the Inspector and
| | 03:24 | under Text > Format, if you look under
Advanced Formatting, we have some options
| | 03:30 | here for Scale, Offset, and Rotation.
| | 03:34 | Typically, if I wanted to reset how
something was laid out, I would just go to
| | 03:38 | the individual parameter and click on
the pulldown that pops up on the right,
| | 03:42 | and if you say Reset Parameter, it
resets it back to the beginning value.
| | 03:46 | I know if I do that, I am actually going
to delete any keyframes on that parameter,
| | 03:51 | so we can't do that right here.
| | 03:52 | What we need to do is reset the scale
back to its original setting before we
| | 03:58 | started adjusting the glyphs.
| | 04:00 | I know that the original scale
of these letters wasn't 100%;
| | 04:03 | it was actually 190.
| | 04:05 | So let's just double-click in here and
type 190, perfect, and now you notice we
| | 04:11 | have to adjust the Offset, so let's
change that back to 0 and 0--and I am just
| | 04:16 | using Tab to move between the fields.
| | 04:19 | We can adjust Rotation back to 0.
| | 04:20 | It still looks a little off.
| | 04:23 | Sometimes you'll have to open the
disclosure triangle and look at all the
| | 04:26 | different parameters just to make
sure that they're all set back at 0.
| | 04:30 | So the S is actually looking pretty good.
Let's click through the rest of the letters.
| | 04:36 | Now notice since the S is so large and
the T is kind of hidden, I am having a
| | 04:40 | hard time selecting that.
| | 04:41 | I have two things I could do:
| | 04:43 | I could zoom in, or I could just click
the O over here and then come back and
| | 04:47 | click right on the T.
| | 04:49 | Let's make sure that the T is
set up the way that we want.
| | 04:53 | So it looks pretty good,
190%, but the X rotations off.
| | 04:58 | If you notice, we have this
shadow that's kind of popping out from
| | 05:02 | underneath the T. That was created by adjusting
the separate style with the Adjust Glyph tool.
| | 05:09 | So if we go to the Style section,
we can navigate down to our Glow, and you
| | 05:15 | notice here we have some
options for Offset and Scale.
| | 05:20 | So let's open up the parameters.
| | 05:22 | The Scale looks good, the Offset
looks good, but what we need to adjust is
| | 05:27 | the Four Corner pin.
| | 05:29 | See, when this was distorted,
it was done using four corners.
| | 05:33 | So in order to actually see that,
if you open the HUD by pressing F7 on your
| | 05:40 | keyboard, you can go to Attribute
section and instead of Transform Glyph, you
| | 05:44 | want to go to the actual Glow parameter.
| | 05:47 | Now we can see the bounding box that
was created for this four-corner pin.
| | 05:52 | So if we change the Bottom Left to 0
and then just press 0 as you tab through
| | 05:58 | any of the other parameters, you'll notice
now the glow is set perfectly behind the T.
| | 06:04 | So make sure to change your Attribute
back to Transform Glyph, and let's continue
| | 06:09 | clicking on the other letters.
| | 06:12 | So I am going to go through and
finish the rest of these letters.
| | 06:16 | Now that we have everything all set,
let's turn off automatic keyframing.
| | 06:20 | To preview our animation, just move your
playhead back to the beginning and press play.
| | 06:26 | As you can see, everything sort of moves up.
| | 06:29 | This is relatively close to what I was
thinking, but I want all these letters to
| | 06:33 | just have a quick short fade so they're
not already at 100% Opacity right at the
| | 06:39 | start of our animation.
| | 06:40 | Now to do that I could apply a
behavior that's designed to work specifically
| | 06:46 | with text, or I could just
apply a typical fade behavior.
| | 06:50 | So let's just do that by going to Basic
Motion and under here, there's Fade In/
| | 06:54 | Fade Out, so to apply to the
text layer just drag and drop it.
| | 07:00 | If you press F7, you can see in the
HUD how many frames it's going to take
| | 07:04 | before the fade actually
appears at full opacity.
| | 07:08 | So it only takes about 20 frames and
since we are working at 59.94, that's
| | 07:12 | going to be pretty quick.
| | 07:16 | That is exactly what I was looking for.
| | 07:18 | So no we are ready to animate
these other two lines of text.
| | 07:22 | Notice when I click on the type layer,
you'll see that I still have the Adjust
| | 07:28 | Transform tool selected.
| | 07:29 | Now notice, once we've selected the
layer, we still have the Transform
| | 07:34 | Glyph tool selected.
| | 07:35 | So let's go back up under Transform just so
we can have the traditional bounding box,
| | 07:41 | and now it's time to actually add
a text behavior for this animation.
| | 07:45 | This will make the animation very quick.
| | 07:47 | If you go to Text Animation, there's an
option for Sequence Text, which allows
| | 07:53 | you to set a custom parameter.
| | 07:55 | Or if you go to Text Sequence, there are a
bunch of presets that we could start with.
| | 08:00 | Let's look under Text Basic.
| | 08:02 | And in here there's an option for Fade
Characters Random In, so notice now it's
| | 08:08 | going to create this kind of
interesting fade-in for each character.
| | 08:12 | Well, that looks pretty good.
| | 08:14 | Let's go ahead and click Apply.
| | 08:16 | With that behavior applied, notice it
only takes place over a short amount of time.
| | 08:22 | Just to check what's going on,
let's move our playhead here, and as you can see,
| | 08:25 | it's just about 41 frames before it comes in.
| | 08:28 | So if you want this transition to take
a little bit longer, you can just click
| | 08:32 | on the right edge of that behavior and
drag it out to the right. And notice as
| | 08:36 | I drag, I'm getting a pop-up window that's
letting me know the new duration that I've created.
| | 08:42 | It's also showing me the in
out point of that behavior.
| | 08:46 | Just by clicking and dragging on the
right, I've lengthened how long it takes to
| | 08:50 | create this type affect.
| | 08:52 | Just to show you one last thing about
this effect, I am going to go ahead and
| | 08:55 | zoom in here a little more, just
Command+Plus and then the spacebar to move over.
| | 09:00 | I just want you to know, whenever you
apply one of these preset behaviors, it's
| | 09:05 | easy enough to customize if you
want things to change a little bit.
| | 09:09 | With that behavior selected,
jump back into the Inspector.
| | 09:13 | Notice under the Behaviors, I have
Fade Characters Random In selected.
| | 09:18 | Under format, open the disclosure
triangle and you notice the Opacity is set to
| | 09:22 | 0. Well, obviously there's opacity on
the letters, so how is this working?
| | 09:26 | If you open the disclosure triangle
for Controls, you'll notice it's doing a
| | 09:30 | sequence from whatever value is set here.
| | 09:34 | So it's starting from 0% Opacity and
it's moving up through the characters
| | 09:40 | without spaces at a spread
of roughly two characters.
| | 09:44 | So notice the O and the T are missing,
or just slightly starting to fade in.
| | 09:50 | That's because the spread is two characters.
| | 09:53 | So as the fade happens, it's going to
do it roughly two characters at a time.
| | 09:58 | So if we want the fade to happen for
each word, we can set it like that and
| | 10:04 | then if we scrub back through, you'll
notice that one word, the next word, and
| | 10:09 | the next word pops up.
| | 10:10 | I actually liked the way it was set,
| | 10:12 | so I will change back to
character without spaces.
| | 10:16 | Just so we can see what this is going
to look like for the entire animation, I
| | 10:20 | am going to go ahead and move my
playhead back to the beginning, select both of
| | 10:23 | the type layers, and press Ctrl+S
again to turn off my solo, and I'll hide the
| | 10:30 | left side of the interface with
Command+1. I'll just press it twice.
| | 10:34 | And we can do the same thing, hiding
the Layers panel by pressing F5, and
| | 10:40 | I'll just load up a quick RAM
Preview and show you what we've created by
| | 10:45 | using the Adjust Transform tool and
automatic keyframing, as well as using
| | 10:50 | some text behaviors.
| | 10:51 | Well, I know the text animation only
took place over the first few seconds and
| | 10:59 | if you look down here really closely,
you can see there's that green shade
| | 11:02 | letting me know that those layers have
been loaded up in the RAM Preview.
| | 11:05 | I am just going to stop the
preview and show our animation.
| | 11:15 | So I'd say it's looking pretty good.
| | Collapse this transcript |
| Working with text on a path| 00:00 | Animating type on a path is just
another way to add a little bit more
| | 00:04 | control into your scene.
| | 00:06 | Now the dance group that we've been
creating all these graphics for, their
| | 00:11 | name is Everybody Dance Now, and what
we're going to do is actually create a
| | 00:15 | transitional graphic element that we
could layer in within Final Cut, but in
| | 00:20 | order to create that, I need to actually add
some animated type within this transition.
| | 00:26 | As you can see, I've already got a type
layer set up here, and you may notice I
| | 00:32 | have a camera, and these layers are 3D.
And I'm not really going to get hardcore
| | 00:36 | into the 3D right now, but I just wanted
to draw that to your attention, and for
| | 00:41 | now, what I want to do is have the
words Everybody Dance Now repeat multiple
| | 00:46 | times so as it flows through the
scene, it creates this kind of a seamless
| | 00:52 | graphic element that
repeats the words that you see.
| | 00:55 | So to get started, let's select our
Type layer and open the Inspector.
| | 01:02 | In the Text section, under the
Inspector, I want you to go to Format and
| | 01:06 | scroll down to the bottom.
| | 01:08 | Check this out, there's
a field for text in here.
| | 01:11 | So even though I only have one line
of text, I can actually repeat this text
| | 01:19 | numerous times just by
highlighting it, in the text field copying it,
| | 01:23 | I'm just going to create a space
and paste, Command+V, space, Command+V,
| | 01:29 | space, Command+V. I don't necessarily
have to go crazy with that. Let me stop
| | 01:35 | playback there. I accidentally hit the
spacebar, sorry about that. But notice
| | 01:39 | once I've created all those copies,
now I've got this nice long text element
| | 01:46 | that is moving through the scene.
| | 01:48 | Again, we're going to be using this
text line as more of a graphic transition
| | 01:53 | just to reinforce the title of the group.
| | 01:56 | It would be fun to make this text flow
a little bit more like these lines here
| | 02:00 | in the background and to do
that, we'll create path text.
| | 02:04 | Now one of the things I love about
creating path text in Motion is the fact that
| | 02:08 | you don't necessarily
have to draw a custom path.
| | 02:10 | All you have to do is go to Text
section and under Layout there's a Layout
| | 02:17 | Method and by default it's set up to Type or
Paragraphs. What we want to choose is Path.
| | 02:24 | When you choose Path, it automatically
puts a Bezier path underneath the type.
| | 02:29 | Now you can't see that until you
actually grab the Type tool and click
| | 02:34 | within the Type layer.
| | 02:35 | Now, I can actually see that path,
and here's one of the anchor points, so I'm
| | 02:42 | just going to zoom out, Command+Minus to
zoom out in the scene, and you can see as
| | 02:46 | I zoom layout, when you convert Type
to Path Type, it automatically creates
| | 02:51 | three points for the path.
| | 02:53 | Now one of the nice things, I can easily
just adjust the curve of this path just
| | 02:59 | by clicking on that point and dragging up.
| | 03:01 | That's a little large of a swoop.
What I want to do is add a couple of
| | 03:05 | different ones to the line.
| | 03:07 | In order to do that, if you hold down
Option as you hover over the path, you'll
| | 03:12 | see this plus button.
| | 03:15 | When I click here I've just added a
new point. Let's do the same thing on the
| | 03:18 | other side between the right two points.
| | 03:21 | Okay now I can select one, and I'm just
hovering my mouse over the points and
| | 03:25 | it's automatically changed the Move
tool. And I can Shift+Select too and now with
| | 03:30 | both points selected, I can click and drag up.
| | 03:34 | Now I've quickly and easily created the wave
that I can have the type animate along.
| | 03:39 | If you want to adjust the handle for
the first or the last point, if you
| | 03:44 | hold down Command and drag out from a point,
that will allow you to change that curve.
| | 03:51 | So Command and drag out, that
will pull out your Bezier handles.
| | 03:56 | Now for some reason--let me zoom in here
so you can see things a little better--
| | 04:00 | if you decide that you don't want
this nice smooth path, what you can do is
| | 04:06 | Ctrl+Click right on the path itself
and choose Linear. That'll give you a hard
| | 04:13 | break to the curve.
| | 04:16 | So to undo that I'm just going to
Ctrl+Click on that and change it back to
| | 04:19 | Smooth. If you want to control one side
or the other, you need to Ctrl+Click
| | 04:24 | on either one of the handles and
choose Break Handle. That way once I've done
| | 04:29 | that, I can click on one
side and make an adjustment.
| | 04:32 | Now that's not what I'm looking for,
but as you can see, it's pretty easy to go
| | 04:38 | back and change. I can just change it to Linear.
| | 04:41 | I'll go back here, choose Smooth, and now
we're set back to our original smooth curve.
| | 04:48 | This is all well and good if you
want to work with in the path that
| | 04:51 | automatically gets created when you
choose Path under your Layout controls, but
| | 04:56 | what happens when you have a custom path?
| | 04:58 | Well, it's pretty easy to deal with.
Let's create a custom path here first.
| | 05:04 | So I'm just going to grab my
Selection tool just so I can deselect the Type
| | 05:09 | layer, and with my Bezier tool,
I'll just click in my Canvas here and click and
| | 05:17 | drag on a second point, and I'll click
and drag on another point and click and
| | 05:22 | drag on another point.
| | 05:24 | So you can see I've created
this rather custom-looking path.
| | 05:28 | Now I know since the length of the
type is so extraordinarily long, I might
| | 05:32 | want to lengthen these points. So I
can just grab my Transform tool again and
| | 05:41 | once I select that, notice the Bezier
path automatically tries to fill itself.
| | 05:46 | So let's fix that by just deselecting
Fill under the Shape Style, and we'll
| | 05:51 | leave it set up to Outline.
| | 05:53 | I do like to leave a brushstroke on my
path just so I know exactly what's going
| | 05:58 | on as I'm making my adjustments.
| | 06:00 | If you switch back to the Edit Points
tool, here I can move the individual
| | 06:06 | points just by clicking on them and
I can create an actual custom move or
| | 06:12 | custom path that's a little bit longer.
Let me zoom out, Command+Minus, and you
| | 06:17 | can check this out.
| | 06:19 | Now though we have this set up the way
that we want, we just need to take the
| | 06:23 | type off of its current
path and apply it to this path.
| | 06:26 | The easiest way to do that
is select the path layer.
| | 06:29 | Now under layout method, if you look
at Path, notice I have Scroll and Crawl.
| | 06:32 | There really aren't that many other
options. So what we need to do is scroll
| | 06:37 | down under the Layout options here,
and you'll notice we have path options.
| | 06:42 | So by default it was set up for Open
Spline, but check this out. There is this
| | 06:48 | option for geometry.
| | 06:51 | The easiest way to think of that is
custom. Once you choose Geometry, it gives you
| | 06:56 | a nice Shape Source drop well that you
could then in turn drag your custom
| | 07:01 | shape right into the drop well.
| | 07:03 | Now once I do that, the type is flowing
right along the path. Don't freak out if
| | 07:09 | it actually flips over or anything like that.
| | 07:11 | The direction you draw the path will
also determine how the type orients
| | 07:16 | along the path. You can usually fix
this by toggling some of the other
| | 07:21 | options, like Inside Path.
| | 07:23 | Now it's automatically
choosing the inside of this path.
| | 07:27 | Now if don't want to see the actual
path in the scene, I can turn off the
| | 07:31 | Visibility and it's still going to
reference the position of this path.
| | 07:35 | Now the other cool thing, I could
layer some behaviors onto this Path using
| | 07:41 | different shade behaviors or a brush
behaviors, but I don't want to do that.
| | 07:45 | I'll just leave this alone for right now.
| | 07:48 | To create a simple animation, under
Text Format you can adjust under Advanced
| | 07:54 | Formatting the offset of the type.
| | 07:57 | As I scrub up and down on the X axis,
you'll notice the type flows nicely and
| | 08:01 | evenly right across the custom
Bezier path that we've created.
| | 08:06 | So when it comes to creating animations
using path type, notice you can create a
| | 08:12 | level of animation that gives
you a whole bunch of more control.
| | Collapse this transcript |
| Creating credit rolls| 00:00 | Now when it comes to creating credit
rolls, there are a number of different ways
| | 00:04 | to actually get things done.
| | 00:06 | The only time things get complicated is
when you have an extraordinarily large
| | 00:10 | amount of information.
| | 00:11 | Sometimes people can find that amount
of text rather overwhelming, and they end
| | 00:15 | up formatting things in all different ways.
| | 00:18 | Now I am going to show you two ways
to create a credit roll and hopefully,
| | 00:22 | you'll see how my failsafe
way will kind of always work.
| | 00:26 | And then the other way is just kind of
utilizing some of the fun features in
| | 00:28 | Motion with the text generator.
| | 00:30 | Instead of browsing through my
exercise files here in the File Browser in
| | 00:34 | Motion, I want to actually
jump to the Finder really quick.
| | 00:37 | And if you go to your exercise files in
the Media folder, you'll find a folder
| | 00:42 | called Paperwork_Docs.
| | 00:44 | Now in there, you'll find a Word
document that's for the credit roll.
| | 00:48 | Now I specifically left this a Word
document because that's pretty common
| | 00:52 | you'll end up getting a Word document.
| | 00:54 | Now if you don't have Word on your Mac
that you are doing this Motion training
| | 00:59 | with, don't worry about it.
| | 01:00 | If you just right-click on any Word document,
you can say Open With and choose TextEdit.
| | 01:06 | Now I want you to do this first,
just so you can see a step up.
| | 01:12 | Now we're going to do this in a little
bit, but first, I'm just going to work
| | 01:15 | with a native Word document
since we do have Word on this system.
| | 01:19 | Now if you don't have Word on the
system, you can open in TextEdit and do
| | 01:22 | basically the same thing.
| | 01:24 | But what I am going to do is open the
document and as you notice here, I have
| | 01:27 | got some formatting already built in
and there are only two pages of type.
| | 01:31 | So if we select all just by clicking in
the document and pressing Command+A, we
| | 01:37 | can go up under Edit and choose Copy.
| | 01:39 | Now this is loaded into the copy
buffer of the operating system.
| | 01:42 | So I'm just pressing Command+Tab to
switch over to the Motion application, and
| | 01:46 | we will open that up.
| | 01:47 | Now one of the things that we haven't
really gotten into very much is creating
| | 01:51 | text that's actually paragraph text.
| | 01:54 | The way we want to do this is to go
to the View menu, and in here you want
| | 01:59 | to enable Safe Zones.
| | 02:01 | I always do this because
I am a little old school.
| | 02:03 | There are some tools that allow you to
compensate for title safe and action safe,
| | 02:07 | but if you do this this way,
it will be awesome because again,
| | 02:12 | you're eliminating steps.
| | 02:13 | So let's select the Text tool with our
title safe and action safe squared away.
| | 02:19 | Let's click in the upper-
left corner of title safe.
| | 02:23 | Title safe is the inner box.
| | 02:25 | Now as I click, I'm going to hold
my mouse down and drag over to the
| | 02:30 | lower-right corner.
| | 02:31 | The reason I'm doing this, this inner
box is letting me know exactly where I
| | 02:35 | can place the text,
| | 02:37 | so no matter what television or computer I'm
watching this on, the edges don't get cut off.
| | 02:42 | This is kind of a leftover thing from
broadcast video and things like that, so
| | 02:46 | some older televisions have a tendency
to really crop in on the video signal.
| | 02:50 | You don't have to worry about that with
this; just click and drag from the upper
| | 02:54 | left to the lower right.
| | 02:55 | I have a blinking cursor and if you
just do Command+V to paste that type, it
| | 03:01 | will actually paste all the type from the
Word document right into your Motion project.
| | 03:08 | Now I realize it's kind of hard to see,
and there is a ruler here letting me know
| | 03:12 | exactly how large I made this space for
my paragraph type, and I have a scroller
| | 03:18 | here so I can scroll up
and down and see the type.
| | 03:21 | Notice as I am scrolling up and down,
the paragraph bounding box is not moving.
| | 03:27 | It's kind of one of the nice little things here.
| | 03:29 | Now I can go ahead and accept this
just by pressing Enter on our keypad.
| | 03:33 | As you can see, the type is still a
little hard to read, so let's look at it
| | 03:36 | at 100% magnification.
| | 03:38 | And as you can see over
here, it's a little blurry.
| | 03:42 | Now what ended up happening, my Type
layer ended up getting placed in a group
| | 03:46 | that currently was already in the
project, and I have a Vignette filter on here
| | 03:52 | which blurs the edges.
| | 03:53 | So we want to make sure to drag that
Type layer up above the current group so it
| | 03:58 | occupies its own space.
| | 04:00 | Now we don't have to deal with that blur.
| | 04:02 | So I'll just press Shift+Z to resize my canvas.
| | 04:05 | Now in order to make the type bigger, if
we go to the Inspector, you'll notice I
| | 04:10 | don't really have an option for size.
| | 04:13 | If you click and drag in the number
field that's empty here, as you click and
| | 04:18 | drag, it will let you
change the size of the type.
| | 04:21 | The reason it's not giving you a final
number is because the type has multiple
| | 04:25 | different sizes within the document.
| | 04:28 | So this is a fast, easy way to keep the
formatting that you had from the Word
| | 04:32 | document and just making
the size of the type bigger.
| | 04:35 | Notice the bounding box hasn't changed its size.
| | 04:38 | Now if you decide you want this to be
center justified, you can just click
| | 04:41 | center justify on the alignment.
| | 04:42 | Now one little side note:
| | 04:44 | When I copied the text from the Word
document and pasted it into Motion, it did
| | 04:48 | copy-paste the formatting.
| | 04:50 | But it is no longer referencing that
Word document, so I can go back to the
| | 04:54 | Word document and make changes and that
has absolutely no effect on our credit
| | 04:57 | roll here whatsoever.
| | 04:59 | So now as I'm looking at this, I can
click on this layer and move it up and down,
| | 05:03 | and that will definitely give me my animation.
| | 05:05 | I'll just undo that.
| | 05:07 | But if we use the traditional animation
behaviors like Throw or Move, it's kind
| | 05:13 | of hard to time out exactly
when this is going to finish.
| | 05:17 | So the behavior you actually
want to use is under Text Animation.
| | 05:21 | See down here there's an option for Scroll Text.
| | 05:23 | Well, what's great about Scroll Text is
the fact that it'll automatically time
| | 05:28 | the move of the type.
| | 05:29 | So let's drag and drop it up to
the type, and now check it out.
| | 05:32 | It automatically moved it to the bottom
of my page, and if I just scrub through
| | 05:37 | the Timeline here, notice it is
scrubbing automatically, timing the length of
| | 05:44 | the scroll for the length of the behavior.
| | 05:47 | So if you want this to actually move a
little faster--I'll go back over here,
| | 05:50 | let's say we want the scroll
to finish in half of the time--
| | 05:54 | I can just press O to trim the out point
and now it'll just scroll that much faster.
| | 06:00 | So if you want one of those really quick
credit rolls, this is a way to actually do that.
| | 06:05 | So that's the basics for how to import
your credit roll and do the animation
| | 06:11 | with a typical scroll.
| | 06:13 | But let me show you how you can use a
generator to actually have the type type
| | 06:18 | on one line at a time.
| | 06:20 | So if you go to the Generator section
of your Library, under Text Generators we
| | 06:25 | have the File Generator.
| | 06:28 | This references a file on your hard
drive, so let's drag and drop that right
| | 06:32 | into our project, but I want to drop it
into this upper group here so we don't
| | 06:36 | have to deal with that vignette issue again.
| | 06:39 | Now we can deactivate our Type layer
that we just animated, and we need to go to
| | 06:44 | the Inspector to actually
link up our Text Generator.
| | 06:47 | Now with the Text Generator, you want
to go to the Generator channel down here
| | 06:53 | and browse for your file.
| | 06:55 | Now if I click Browse and navigate on
my Desktop to my exercise files--let me go
| | 07:00 | to Media, organize by Name, okay,
| | 07:03 | Paperwork_Docs--notice I
can't select that Word doc.
| | 07:07 | That's because Motion is
looking for a text document.
| | 07:11 | Now this is a little
trick I am going to show you.
| | 07:13 | Don't use Word to convert
this to a text document.
| | 07:16 | Right-click on the Word
document and open it with TextEdit.
| | 07:19 | I found this to be a very
reliable way to actually work.
| | 07:23 | Now when you're in TextEdit you
need to actually go up under Format and
| | 07:27 | say Make Plain Text.
| | 07:30 | When you do that, it'll get rid of
all the rich text options, which is fine
| | 07:35 | because rich text isn't supported.
| | 07:37 | So now once we have this set up,
we can say File > Save As, and leave the
| | 07:43 | default settings for Plain
Text Encoding: Unicode 8.
| | 07:46 | Okay, I'll just call this credit,
and I will type a .txt at the end of it.
| | 07:53 | And when we click Save, if we go back
to our Motion document in the Generator
| | 07:58 | section under File, let's browse to that
same Paperwork_Docs folder and choose credit.
| | 08:04 | Now we can select this.
| | 08:06 | When we choose that, check this out.
| | 08:08 | The credits are actually dropped right
here in the middle of the document and
| | 08:13 | if I scroll my playhead, check it out,
it's actually playing everything line by line.
| | 08:18 | So let's see what this looks like.
| | 08:19 | If I press the spacebar, notice
it's moving really, really quickly.
| | 08:24 | And there's some flickering as far as
the first line, and then it's blank and
| | 08:28 | then the next line and it's blank.
| | 08:30 | Well, if we go back to our text document,
notice there is an extra line in between each.
| | 08:36 | So if you're looking to actually
animate your credit rolls like this, line by
| | 08:41 | line, you will want to actually go
into TextEdit and make sure that all the
| | 08:45 | lines that you want to appear back to back
don't have any extra line spaces in between.
| | 08:51 | So as you can see, there are many different
options for animating type inside of Motion.
| | 08:56 | I hope you find some way to
wrangle the beast that is a credit roll.
| | Collapse this transcript |
|
|
6. Working with Video FootageMatch Move: Four-corner pin| 00:00 | If you're unfamiliar with four-corner pin,
basically what we're trying to do is take
| | 00:04 | the four corners of a piece of
footage and then tie those four corners into
| | 00:10 | something else that is moving.
| | 00:12 | A lot of times people use four-corner pin to
black out a license plate or replace a sign.
| | 00:19 | We are going to use it to
actually do something slightly different.
| | 00:22 | Here we have this piece of footage.
| | 00:23 | If I press the spacebar here--
I will turn the audio off.
| | 00:28 | Let's move that back here.
| | 00:28 | If we press the spacebar, you can see
the footage is moving, and what we need to
| | 00:33 | do is just map in the logo and basically
with a four-corner pin, we are going to make
| | 00:39 | it look as though it was
already painted on the ground.
| | 00:42 | So to do this we need to select the
logo that we want to actually move and get
| | 00:48 | placed into the background layer.
And the way that this works is through a
| | 00:52 | behavior under Motion
Tracking called Match Move.
| | 00:56 | In order to apply Match Move, we can just
drag and drop it right onto our piece of footage.
| | 01:01 | Now the way Match Move works, whatever
object you apply it to, it's going to look
| | 01:06 | at the next object below
and use that as the source.
| | 01:09 | So automatically it's chosen the
4CornerPin as the source for our move.
| | 01:16 | If you notice here I have this red
target, and as I move around throughout the
| | 01:22 | logo here, I'm actually seeing a
close-up of our piece of background.
| | 01:27 | So just so I can see things better,
I am going to turn off the visibility for
| | 01:31 | our logo and just put this
one anchor point in the scene.
| | 01:35 | Now when you are choosing anchor points,
what you want to do is try and choose
| | 01:39 | an area that looks relatively unique.
| | 01:41 | So no matter where the move happens,
the software will figure out exactly where
| | 01:47 | that point is currently.
| | 01:49 | As we are looking at this,
there is only one point.
| | 01:51 | So in order to get four, you need to
change the type. In the Inspector, under
| | 01:56 | behaviors, change it from
Transformation to Four Corners.
| | 02:00 | Now I have four separate pins.
| | 02:03 | And notice what happens. If I go
to move this pin on the left here,
| | 02:07 | I can't really see anything just yet.
| | 02:09 | Let me move this pin over here.
| | 02:11 | Let me move this pin up here,
and I will move this pin over here.
| | 02:16 | Now if we turn the visibility
of our layer back on, notice, oh!
| | 02:20 | It's actually distorting the image.
| | 02:22 | So this is both helpful and kind of a
hindrance because as I move the point, I
| | 02:28 | may have a point on the image that
would be perfect to track because it's kind
| | 02:34 | of high contrast and rather unique looking.
| | 02:36 | But let's say I find this point.
| | 02:37 | Let's say like right here I find this point.
| | 02:40 | Well, when I do that, notice the
distortion of the object doesn't really work.
| | 02:45 | So what we need to do is
change the Transform options.
| | 02:49 | Again, back in the Inspector under
behaviors, you want to choose Mimic Source.
| | 02:53 | What this is going to do is allow me to
move my four corner points to different
| | 02:58 | track areas but keep the
distortion exactly the same.
| | 03:02 | So what we want to do before we make
that change under the Attach to Source,
| | 03:07 | you want to go and get the distortion
of your object so it kind of matches the
| | 03:12 | distortion of the ground here.
| | 03:15 | So I am just trying to make it look as
though it were already pinned on the ground here.
| | 03:20 | Okay. There we go.
| | 03:22 | That's looking pretty close,
maybe bring this down a little bit.
| | 03:26 | So this is relatively okay, but I don't
know if the points that we are tracking
| | 03:31 | are actually going to work quite right.
| | 03:33 | So what we need to do is change
the Transform to Mimic Source.
| | 03:38 | Now when we do Mimic Source, I can
move this to an area that's rather high
| | 03:42 | contrast and unique looking,
but notice as I move this, the object that we
| | 03:47 | are going to map in is not distorting,
okay. It's just going to mimic the
| | 03:53 | movement based on our track.
| | 03:56 | Now another thing with this project,
| | 03:59 | if you notice I'm setting up these
points and my playhead is currently at 01:17.
| | 04:05 | See, when you go to Analyze, you
can analyze in multiple directions, so
| | 04:09 | sometimes when you go to track a piece
of footage, you'll move the footage so it
| | 04:14 | gets to a place where it kind of
makes sense, and you can click Analyze.
| | 04:19 | Now what this is going to do is move
from this frame forward and analyze the
| | 04:23 | move, but anything that happened
before this, it's not going to actually have
| | 04:28 | that move in there just yet.
| | 04:30 | Okay, so if we move our playhead back to
the beginning, let's see what's going on.
| | 04:34 | Okay, well we've got the move
happening here and then boom!
| | 04:38 | Our logo is actually moving across the scene.
| | 04:42 | Now that track looks relatively okay,
but just so you know, if you need to
| | 04:47 | tweak individual points, like let's
say one of the points is kind of out of
| | 04:50 | sorts and just not in the right place,
you can turn on Automatic Keyframing
| | 04:55 | and just move that one point.
| | 04:58 | And as you move that one point, the
keyframe will keep that so it will pop and
| | 05:02 | move based on that change that we've just made.
| | 05:05 | Now, I don't like that so I will just
undo that last move. And also when you do
| | 05:11 | this Match Move, sometimes you can't
figure out exactly where it started.
| | 05:15 | So if you press Command+8, this will
allow you to see all the keyframes that
| | 05:20 | you've created based off of this track.
| | 05:23 | So I'll move right to the start of our
track, which I believe is right here. Perfect!
| | 05:30 | With this, I want to analyze
going the opposite direction,
| | 05:34 | so let's turn on Reverse,
and we can click Analyze.
| | 05:38 | Now this is going to analyze back
in the Timeline and even though I'm
| | 05:42 | overlapping some of the keyframes, it should
be perfectly fine when we go to analyze this.
| | 05:47 | Now this is taking a little bit
longer to do this because it's giving me a
| | 05:50 | preview of all the keyframes that
it's creating as it's doing the analysis.
| | 05:55 | But now if we deselect our behavior,
press Command+8 to hide our keyframes,
| | 06:00 | we can press the spacebar and you'll
see that we've got our track actually
| | 06:05 | moving through the scene.
| | 06:07 | Now it does end a little bit here,
and I could go in and tweak this a little
| | 06:13 | bit more by manually adding the
keyframes, but I think I'll just keep this by
| | 06:18 | doing Command+Option out, and this way
we have our track and it's stuck right
| | 06:24 | from the beginning.
| | 06:25 | Notice as I'm scrubbing here, I get a few
frames before the track actually happens.
| | 06:30 | So I'll just trim the in point there. Okay.
| | 06:34 | So the only thing left is to
literally match this in using a combination of
| | 06:39 | transparencies and blend modes.
| | 06:40 | So just to cover that really quickly,
in the Inspector, under Properties, you can
| | 06:45 | change the Blend mode to something like
Screen, if you want the darker areas to
| | 06:50 | kind of wash out and match in.
| | 06:52 | So if we did Screen and then brought
the Opacity down quite a bit, you will
| | 06:56 | notice yeah, it looks kind of faded,
but it definitely looks like it matches
| | 07:01 | where it's been painted a little bit more.
| | 07:05 | So as you can see, when it comes to
doing a four-corner match move, sometimes
| | 07:09 | it's a question of tracking forwards,
sometimes it's a question of tracking
| | 07:13 | backwards, and if worse comes to
worse, you can always turn on Automatic
| | 07:17 | Keyframing and literally move each
corner and then move a frame down and move
| | 07:21 | each corner and go through the
process and do things manually.
| | Collapse this transcript |
| Match Move: Transform| 00:00 | If you've been watching television
lately--and let's not kid ourselves, who
| | 00:03 | hasn't?--I think you'll notice that
tracking type into its background environment
| | 00:09 | seems to be all the rage nowadays.
| | 00:12 | It's pretty much in every
commercial I've watched, so I want you to get
| | 00:15 | familiar with the match-move behavior,
because this is going to allow you to
| | 00:20 | tie things together in the scene,
regardless of whether it was originally
| | 00:24 | created in Motion or not.
| | 00:26 | So if we look at our project, I am
going to press the spacebar and watch
| | 00:30 | playback and as you can see, we've got
this beautiful dolly move going on here.
| | 00:35 | And basically, we want to have some words
look like they're stuck to this back fence.
| | 00:42 | Now, we've already added the words.
| | 00:45 | If you just turn on the visibility for
the words here, you can see right now
| | 00:49 | they're not tied to anything.
| | 00:51 | So we'll use Match Move
to tie this to the railing.
| | 00:55 | So to get started, select the Type layer.
| | 00:57 | I am just going to click in the
Canvas and position it where you want it to
| | 01:01 | be kind of "stuck".
| | 01:02 | Now, I am going to position it so
it's placed a little bit over this flower
| | 01:07 | holder here that's kind of tied to the railing.
| | 01:09 | Now, with the type selected, to apply
the Match Move behavior, go to your
| | 01:14 | Library under behaviors, and there is a
section for Motion Tracking, and Match
| | 01:20 | Move is right here.
| | 01:21 | So just drag Match Move and
drop it right onto the type layer.
| | 01:25 | Now, I'm going to press
Command+3 and jump into the Inspector.
| | 01:29 | Now, with Match Move selected, in the
Inspector you'll notice we have a couple
| | 01:33 | of different options.
| | 01:34 | First off, our Source layer.
| | 01:37 | Well, how did this get dropped in already?
| | 01:39 | Well, anytime you have an object that
you want to match to a piece of video, you
| | 01:44 | want to place that object on
the layer just above the video.
| | 01:47 | That way when you apply the behavior,
it's automatically going to load the video
| | 01:52 | right below in as the source.
| | 01:54 | You can always click on this and
reload a new source on the right-hand side
| | 01:58 | here, but that's how it was loaded.
| | 02:00 | Now, there's this button for Analyze
Movement, and if you look in the Canvas,
| | 02:04 | there is a red circle
with a cross in the middle.
| | 02:07 | This is going to be our tracker,
and if you click and drag on it, notice that
| | 02:14 | I'm getting a magnified view
of what's going on in the scene.
| | 02:17 | And if you look on the left side of
your screen, in the Inspector there is a
| | 02:21 | Tracker Preview window that's
even larger that's updating.
| | 02:24 | The tracker is literally going to track
things pixel by pixel, and what I want to
| | 02:29 | do is make sure that the region it's
searching in has something that's unique
| | 02:34 | enough that it will be able to
determine, hey, there is that same pixel.
| | 02:39 | Now, on the railing, you notice it's
very dark, and there are large areas
| | 02:43 | without any definition.
| | 02:45 | So that's why I am choosing this area
here right at the edge of the railing,
| | 02:49 | because I can get that kind of 90-degree
white-to-black look and that will give some
| | 02:55 | kind of distinction for the track.
| | 02:57 | Now, another thing to pay attention to
when you're doing tracking is where your
| | 03:01 | playhead currently is.
| | 03:02 | I already placed my tracker here,
and my playhead is at frame 58.
| | 03:06 | So if we drag through the scene
here you'll notice, yeah, I need to
| | 03:11 | actually move my playhead.
| | 03:12 | Here I am going to move my playhead to
around frame 10 and move my anchor point
| | 03:17 | here to that position. Okay, perfect!
| | 03:21 | I know I'm not analyzing right to left.
| | 03:23 | We'll deal with the beginning in a
second, because I want to explain how having
| | 03:28 | something in the foreground can make
things a little harder to work with.
| | 03:32 | But we'll get there in a minute.
| | 03:33 | Let's actually do our first analysis.
| | 03:36 | So under Movement, in the
Inspector, click Analyze.
| | 03:43 | Now, notice as this is happening I am
getting a real-time preview, and the Type
| | 03:47 | is kind of bouncing around, and up
here I'm getting all these little dots.
| | 03:52 | And these are marks that the tracker is
making as it's tracking each individual frame.
| | 03:58 | And if you look in the Timeline here,
you can see I have keyframes for
| | 04:01 | absolutely everything.
| | 04:03 | Now, if we preview our animation, I am
going to go ahead and deselect everything
| | 04:07 | just by clicking Project panel.
| | 04:09 | Now, press the spacebar and let's see.
| | 04:13 | And while that's relatively okay,
it's way too jittery for my taste.
| | 04:17 | It's kind of bouncing up and down.
| | 04:19 | And the reason that's happening, if you
scrub through the Timeline, you notice
| | 04:23 | the background for this
railing is changing drastically.
| | 04:27 | And since my track point is right
on the edge here, it's being slightly
| | 04:31 | influenced by the different pieces of
the background that are rolling through
| | 04:35 | that little bright white area.
| | 04:38 | So instead of tracking up here on
the railing, we need to look for
| | 04:41 | something more consistent.
| | 04:42 | If you look down here in the
foreground, we have these beautiful tiles, and
| | 04:46 | these tiles are very distinct.
| | 04:48 | And if you scrub through the clip,
you notice they don't really disappear.
| | 04:53 | So instead of undoing the track, I am
just going to delete the Match Move behavior.
| | 04:58 | I'll move my playhead to around frame 17
here, and let's add another Match Move.
| | 05:04 | I am going to go to the Behaviors
button here in my toolbar and under Motion
| | 05:08 | Tracking choose Match Move. Okay.
| | 05:11 | With Match Move selected, we are
looking at the Transformation values that
| | 05:17 | we are going to track.
| | 05:18 | Horizontal and Vertical.
| | 05:20 | We want to attach the track points to our type,
| | 05:23 | so let's just click and drag and
specify a new point down here on the corner of
| | 05:30 | one of the pieces of tile.
| | 05:31 | Now click Analyze and watch
what happens with the Type.
| | 05:38 | I can already tell this is a much more
solid track because of the density of
| | 05:42 | each one of these points.
| | 05:44 | Also, you can see it's
almost a perfectly straight line.
| | 05:48 | Now, if we watch our playback here,
you can see the type is moving in
| | 05:53 | unison with the tile.
| | 05:56 | But the problem is this tile is a
few inches in front of the railing.
| | 06:00 | So we're getting that drift that
happens from the parallax of the camera.
| | 06:06 | As you're far away from something,
obviously things look like they're moving a
| | 06:11 | little more slowly, whereas when
things are really close they look like
| | 06:15 | they're moving faster.
| | 06:16 | So we need to move the type back a little bit.
| | 06:19 | Now, we can move the type back in the
scene by adjusting its position on Z
| | 06:23 | space, just by selecting the type.
| | 06:25 | And if you go to the Properties area
of the Inspector, under Position, we
| | 06:29 | have X, Y, and yes, Z. Even though this is a
2D layer, it is able to be moved in Z space.
| | 06:36 | So let's just move this back around 66
frames, and now if we play it back, you'll
| | 06:43 | notice, okay, it's much
more stuck to the railings.
| | 06:47 | There's still a little bit of a
drift, but it's pretty darn good.
| | 06:51 | Now, another thing that I'm noticing, if
we look at our track points--select the
| | 06:56 | Match Move behavior--notice how over
here on the left side the track points are
| | 07:01 | a little closer and over here
they are a little further away.
| | 07:03 | Well, that's just kind of telling me
that there is a slight perspective shift
| | 07:07 | that's happening here.
| | 07:09 | So instead of just tracking the position,
just to nail this down a little more,
| | 07:14 | I want to specify another track point.
| | 07:17 | So if we go back to our Behaviors
section of the Inspector, notice there is
| | 07:22 | an option for Adjust for Position, and if
I click on Scale, it will adjust the scale.
| | 07:27 | But I want to look at Rotation, just in case
things are spinning around here a little bit.
| | 07:32 | Now, notice on the right side
I have a second track point.
| | 07:35 | Just to kind of practice what I preach,
I do want to move my playhead back to
| | 07:39 | where we started tracking, and I know
I'm right on that frame because I get that
| | 07:44 | bright white circle right there
in the middle of my track point.
| | 07:47 | Now, I just need to drag the red
crosshairs over here to this other tile.
| | 07:53 | Now, I chose the corner of this other
tile because I know it's distinct and
| | 07:58 | roughly it's the same length as our type.
| | 08:01 | I know it's not quite, but it's a
little closer than if I'd tried to tie it to
| | 08:04 | that edge of the tile.
| | 08:06 | So now let's click Analyze one more time. Okay.
| | 08:11 | It was very minute, the amount
of adjustments for the rotation,
| | 08:15 | but if we watch this back, you'll
notice now it looks like the type is almost
| | 08:20 | nailed to the railings.
| | 08:22 | Again, you may notice just a little shift,
but honestly, that's pretty darn good.
| | 08:26 | Now what we need to do is adjust
things for the start section of our clip.
| | 08:32 | See, you notice, as I move my
playhead, I'm on frame 17.
| | 08:35 | That was our first track point, right?
| | 08:37 | So I am going to move to frame 16,
and you notice no track points.
| | 08:41 | That's fine, this is where
I'll start the new track.
| | 08:44 | But if I try and track forwards, look
what happens to this left track point.
| | 08:49 | All the sudden the point that I
was tracking on has disappeared.
| | 08:53 | Let's see what happens if we track
knowing that that's going to happen.
| | 08:58 | Move your playhead back to frame 16,
and all we have to do is select Reverse next
| | 09:03 | to the Analyze button.
| | 09:04 | Now, if you click Analyze, watch what happens.
| | 09:09 | I get this bright white X, and it's
telling me that it lost its mind, basically,
| | 09:14 | and if we press the
spacebar, you can see, hmm, not quite.
| | 09:20 | So what we need to do is
undo that last set of tracks.
| | 09:27 | Now, what I am going to do, we'll
position our playhead on frame 17. Instead of
| | 09:34 | choosing to Analyze right now, we
need to go down here and choose Offset.
| | 09:39 | When you go to Offset track, what you
can do is click on one of the track points.
| | 09:45 | You have to be very careful.
| | 09:47 | Notice when I clicked I
accidentally dragged out this white circle.
| | 09:51 | That's not what I'm trying to do,
because that was the original track point.
| | 09:54 | What I am trying to move is the tracker.
| | 09:57 | So if you zoom in, which is Command+Plus,
I can click right here on the edge of my
| | 10:04 | tracker and get the tracker back,
and what I am going to do is just offset it
| | 10:08 | down to this rather unique area of tile.
| | 10:13 | I'm pretty sure this area isn't going
to get covered up when we have the move.
| | 10:19 | So now that I've offset my first track point,
I want to go ahead and Analyze in Reverse.
| | 10:30 | And I think we're okay.
| | 10:32 | So if we press Shift+Z,
you notice we can resize our view.
| | 10:37 | I'm going to press F6 to hide the
Timing panel and just make sure that we have
| | 10:43 | everything deselected.
| | 10:44 | Open my Project panel and just
click on Project here. There we go.
| | 10:48 | Now let's see the results of our track.
| | 10:53 | And sure enough, we've dealt with a
lot of frustrating issues that could have
| | 10:58 | caused problems by
adjusting the offset of our track.
| | 11:03 | We've also learned about parallax
and adjusting things in Z space, and I
| | 11:08 | think you know how to troubleshoot a
track and work your way through the
| | 11:12 | progression that a typical designer would have
to go through to pin something down in a scene.
| | 11:17 | Just to understand, every time you do
tracking with the Match Move, you want to
| | 11:21 | try and create good results by
using as few track points as possible.
| | Collapse this transcript |
| Stabilization| 00:00 | I don't know about you, but to me, it
seems like it doesn't matter how much
| | 00:04 | preparation goes in to going on a shoot
and having all your equipment with you;
| | 00:09 | inevitably you will end up with a beautiful
shot that you're going to have to fix in post.
| | 00:14 | Now thankfully, the person who shot
this did a great job with the exposure and
| | 00:19 | the colors, and all that sort of thing.
| | 00:20 | But if we watch playback of our project
here, you'll notice it's a little shaky.
| | 00:27 | So we will go ahead and
stabilize this in Motion using one of the
| | 00:32 | stabilize behaviors.
| | 00:34 | Now, there are a couple of different
options to stabilizing the footage.
| | 00:38 | Let me just stop playback here.
| | 00:40 | So let's select our footage here
and go to the Library under Behaviors.
| | 00:46 | If you go to Motion Tracking,
there is an option for Stabilize.
| | 00:51 | So just go ahead and apply it by
clicking the Apply button. Since we had the
| | 00:55 | video layer selected, it's already in there.
| | 00:58 | Now, if you press F7, you can open up
the HUD and you'll see, by default, it's
| | 01:04 | going to go ahead and stabilize.
| | 01:06 | The Borders are set to Normal, which
you'll see what that means in a quick
| | 01:09 | second, and we can have it adjust the position;
| | 01:12 | the Position and the Scale; or all
three: Position, Scale, and Rotation.
| | 01:18 | Usually, I like to just have this go
through and do Position first, and then
| | 01:22 | we'll see if we need to do other things.
| | 01:25 | So click Analyze to
start the Stabilize function.
| | 01:30 | Now, let's see what the results end up like.
| | 01:33 | Now, I think that looks pretty good.
| | 01:39 | The only issue we're running into, it's
a little wobbly, and as you can see the
| | 01:45 | edges are kind of creeping a little bit.
| | 01:47 | So I'm going to stop playback here,
and press I in HUD so we can open up
| | 01:53 | Stabilize in the Inspector.
| | 01:55 | Here are all the different options we can have.
| | 01:58 | Now, Quality is set to Better.
| | 02:00 | There is an option for Better or Faster.
| | 02:03 | Better is going to utilize some of the
optical flow technology in Motion, so it
| | 02:10 | will look a little better and
kind of warp the image a little bit.
| | 02:14 | There's a second option here for Track Region.
| | 02:18 | Now, what this is going to do is allow
you to specify a specific area to track.
| | 02:24 | That way, the software doesn't
have to analyze the entire thing;
| | 02:28 | it can just analyze this one region.
| | 02:30 | So I'm going to undo our stabilize analysis.
| | 02:35 | This time, let's choose Track Region.
| | 02:38 | Now you can see we have this red box
that's popped up. You can make the region
| | 02:43 | larger or smaller, and you can adjust
its rotation if you want it to kind of
| | 02:49 | track something that's off-kilter,
| | 02:52 | just by clicking this square on the
right-hand side of our Position, kind of
| | 02:56 | like the normal transform
controls for anything inside of Motion.
| | 03:00 | We'll choose just this one area of rocks,
since it's so dominant and in the foreground.
| | 03:06 | You can track horizontal and
vertical or just one or the other.
| | 03:12 | We'll leave horizontal and vertical.
| | 03:14 | Now, click Analyze to analyze our stabilization.
| | 03:22 | Now, if we view our playback here,
you'll notice I'm not getting nearly as
| | 03:27 | much of that kind wobble in the
video as I was before, and it is sort of
| | 03:32 | stabilizing things.
| | 03:33 | What we need to do is deal with the borders.
| | 03:37 | Change the Border option from
Normal to Zoom and see what happens.
| | 03:43 | Notice down here in the lower right
I am getting this exclamation point.
| | 03:47 | This exclamation point is just kind of
telling me you might want to be careful
| | 03:51 | because it's scaled so much
| | 03:54 | you may be causing some degradation in quality.
| | 03:58 | Also, as you scrub through, notice there is
still a little bit of wobble on the image,
| | 04:04 | so we may have to redo this.
But I just kind of wanted to show you
| | 04:07 | zoom, so you could see how things are adjusting.
| | 04:11 | As I am looking at this, we
probably want to do Position and Rotation.
| | 04:15 | We'll still leave Scale alone.
| | 04:17 | So let's go to Rotation and click Analyze. Okay.
| | 04:26 | I'm still getting the same warning here,
but let's watch our playback and see
| | 04:30 | how things are looking.
| | 04:32 | Now, if I didn't have my Stabilize
behavior selected, let's see what things
| | 04:38 | would actually look like.
| | 04:42 | Now, I do think this looks significantly better.
| | 04:45 | Just understand, when it comes to
stabilizing your footage, not every shot is
| | 04:49 | going to be rock solid. Sometimes
they'll have a little wobble, and you won't be
| | 04:53 | able to "fix" it in post.
| | 04:56 | But overall, the Stabilize behavior is
a great place to go when you do need to
| | 05:00 | just bring a little bit more
stabilization to your footage.
| | Collapse this transcript |
| Retiming footage with behaviors| 00:00 | Retiming video footage is one of the
great ways you can draw attention to
| | 00:05 | a specific area without necessarily
having to layer a bunch of filters and effects.
| | 00:10 | It's actually kind of fun in Motion
because there are retiming behaviors.
| | 00:15 | That's not the only way you can retime
footage in Motion, but I have to say, it
| | 00:19 | is one of the most fun ways to retime.
| | 00:22 | So just to show you, if you select any
video clip in your Motion project, in the
| | 00:28 | Inspector, you can always go to Properties.
| | 00:31 | In the Properties area, down at the
bottom, there is a parameter for Timing,
| | 00:35 | and if you go over to the right and
click Show, notice there are options to
| | 00:40 | enable time remapping.
| | 00:42 | When you choose Variable Speed for
Time Remapping, it gives you a value for
| | 00:47 | every single keyframe.
| | 00:49 | So as I drag my playhead here, notice
it's giving me a value for that keyframe.
| | 00:55 | So if I drag to frame 1:11, it's
telling me the value of that is frame 42.
| | 01:02 | Well, if I view my time in frames,
you notice there is a direct correlation.
| | 01:08 | In adjusting this timing, basically
all you're doing is setting keyframes.
| | 01:13 | So if you want to use variable timing
in the Inspector, by all means, just turn
| | 01:18 | on Automatic Keyframing
and adjust the Retime Value.
| | 01:23 | It's just a little abstract
when you're working with things
| | 01:25 | to understand exactly what happening all the
time. Let me show you what I am talking about.
| | 01:30 | If I click and drag the Retime Value,
which is 42, if I make it less, let's say
| | 01:36 | I make it 24 frames,
| | 01:38 | now what do you think is going to
happen to all of the frames everywhere else?
| | 01:43 | If you think about it, it's going to
play back slower from the first frame to
| | 01:47 | this frame. And then from this point on
it's kind of actually have to play
| | 01:51 | back a little bit faster, so when it
gets to the end of the clip, it'll actually
| | 01:57 | be playing the last frame.
| | 01:58 | I have retimed the footage, but in my
opinion I haven't done it in a way to
| | 02:04 | where I have really finite control,
because I'm literally making adjustments
| | 02:09 | to all the frames when I'm really trying to
only deal with a specific section of frames.
| | 02:14 | Now there is one last thing I want to
show you in this area and that's down here
| | 02:18 | under Frame Blending.
| | 02:19 | If you've slowed down your footage--
actually, let me show you what the footage
| | 02:23 | looks like. I'll move my playhead to
the beginning and play it out.
| | 02:26 | (music playing)
| | 02:30 | So you notice it slowed down for this
one section, but anytime you slow down
| | 02:35 | footage you're going to
need to have Frame Blending.
| | 02:40 | Now one of the advantages of adjusting
your retiming in the Properties Inspector
| | 02:45 | is the fact that you can choose
exactly what frame blending you want to use.
| | 02:50 | If you're looking for super-high quality,
I would choose Optical Flow and pretty
| | 02:55 | much leave it at that.
| | 02:56 | So when you choose Optical Flow,
the software is going to analyze pretty much
| | 03:01 | every pixel in the frame and adjust
accordingly, whereas if you just leave it
| | 03:06 | for nothing, it's going to try and blend
frames based on the entire frame. And I
| | 03:13 | know that sounds a little vague,
but honestly the easiest way to think about it,
| | 03:17 | Optical Flow is going to
give you the best results.
| | 03:20 | These other ones are kind of
intermediary in terms of how they blend together.
| | 03:24 | So by all means, click
around and make adjustments.
| | 03:28 | Making adjustments this way is kind of fun,
but really the fun is with the behaviors.
| | 03:34 | So let's turn off Automatic Keyframing
for now and go to Time Remapping and
| | 03:38 | reset it back at a constant speed.
| | 03:41 | Now just before you jump to behaviors
you can set constant speeds like, okay, I
| | 03:46 | want that footage to play back
at 37%, and now when we play it--
| | 03:49 | (music playing)
| | 03:53 | --it's just going to play back in slow-mo.
| | 03:55 | So let's set that up to 100% and go
back to our Library here, so we can
| | 04:01 | investigate some of the behaviors.
| | 04:04 | So if you go to Behaviors, there is a
section for Retiming, and again part
| | 04:09 | of the reason I love using the Library
is the fact that you can get previews
| | 04:14 | up here in the top.
| | 04:15 | So Flash Frame could be kind of fun to
introduce in here, but I want to use Reverse.
| | 04:21 | Now the reason I want to use
Reverse, it plays a clip backwards.
| | 04:25 | Now if we look at our Timeline here--
I am just going to stop that Preview--
| | 04:30 | as we play, you will notice there are
markers applied to the audio channel.
| | 04:35 | So if I begin playback by pressing the
spacebar, you'll notice they line up on the beat.
| | 04:40 | (music playing)
| | 04:46 | So I want the retiming to actually
happen at these different markers.
| | 04:50 | So I'll move my playhead to this
purple marker here, and we'll choose Reverse
| | 04:55 | and just drag and drop it.
| | 04:57 | The default option for Reverse here,
notice when you apply it, it reverses
| | 05:02 | the entire clip. And if I scroll down
in my Timeline here, you can see I have
| | 05:07 | my reverse behavior.
| | 05:08 | If you press I to trim the in
point of that behavior--there we go--
| | 05:14 | now that I've trimmed the In Point, you
notice, okay, it's going to play, it's
| | 05:19 | going to play, and then all of a
sudden, bang, there is some other frame.
| | 05:22 | Well, let's drag down the Timeline
and press O and see what happens.
| | 05:26 | (music playing)
| | 05:31 | In essence, with the reverse behavior
what it's done is cut this clip right here,
| | 05:38 | lifted that one section, and literally
reversed all those frames that live inside
| | 05:44 | that reverse behavior.
| | 05:45 | Now if that's the effect you are
going for, that's pretty cool, but I just
| | 05:48 | wanted the footage to start playing
backwards here, so not really reverse.
| | 05:54 | I want to use Ping Pong.
| | 05:57 | See, it alternates the playing
segment of the movie backwards and forwards.
| | 06:01 | That's exactly what I want.
| | 06:03 | So I'm actually going to use this
Reverse down here, and I can trim its start
| | 06:09 | point and out point by dragging it in
the Timeline. And if you notice Snapping,
| | 06:15 | if you want to turn Snapping off,
just press N on your keyboard.
| | 06:18 | It won't snap to anything.
| | 06:20 | Okay, so let's apply Ping
Pong by dragging and dropping.
| | 06:24 | Now move our playhead to this purple
marker and press I to trim that in point.
| | 06:32 | I want this to play out here for a
little bit, and then maybe here I want it to
| | 06:36 | begin playing back again.
| | 06:38 | So let's press O to trim the out point.
| | 06:41 | If we watch our clip,
you can see what things look like.
| | 06:44 | I'm just going to deselect all my layers.
| | 06:46 | (music playing)
| | 06:57 | Kind of cool, right?
| | 06:58 | In my opinion, working with retiming
behaviors is something that's fun and
| | 07:03 | should be easy to use.
| | 07:05 | So I encourage you to continue to drag
different behaviors onto the clips and
| | 07:11 | see what you can come up with.
| | 07:12 | If you are trying to add more energy
to the clip, you might want to look at
| | 07:16 | something like Strobe; if you want
things to kind of be a little more
| | 07:20 | disjointed, look at something like Stutter.
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|
|
7. Using FiltersApplying and adjusting filters| 00:00 | Now even if you're new to animation,
I'm sure you're probably already familiar
| | 00:04 | with the concept of filters.
| | 00:06 | They're basically an effect that you
can apply to any piece of footage or
| | 00:11 | graphic in your Motion
project to stylize the look.
| | 00:15 | Many designers fallen into the
pitfall of using filters as a crutch;
| | 00:20 | "I'm going to throw a filter on this,
because it looks cool." And really, well, I
| | 00:24 | guess in some cases that's perfectly
fine, but really in most cases, just like
| | 00:29 | anything else with high-end motion
graphics or editing or anything like that,
| | 00:34 | you want to do something for a purpose,
so let's actually look at this video
| | 00:38 | clip. Let's watch playback.
| | 00:40 | (video playing)
| | 00:47 | So as you can see, we've got some
high-energy footage of our dancer kind of
| | 00:51 | practicing in the studio, and based on
the angle and the motion of the move in
| | 00:57 | the camera, I want to
reinforce that high-energy look.
| | 01:00 | So I'm going to go ahead and use
filters to do that, just to add style, but
| | 01:05 | again, reinforce the energy
that's being created here.
| | 01:09 | So go to the Library and look in
this section here underneath behaviors.
| | 01:14 | There are filters and
then there are Image Units.
| | 01:17 | If you've watched my Getting Started
chapter, you'll know that these are both
| | 01:21 | filters. Just image units are ones
that actually run natively off of the
| | 01:27 | graphics acceleration built into OS X.
I'm just going to look in the Filters
| | 01:32 | section and see how we
can add some energy to this.
| | 01:36 | One of the things I love is the fact
that we can preview everything, and as I
| | 01:41 | know, I've clicked through a million of
these different filters, the one that I'm
| | 01:45 | looking for is called Find
Edges or Edges. There we go.
| | 01:50 | This finds the edges of an
image based on the luminance.
| | 01:53 | Well, if we go ahead and click Apply,
let's see what this does to our clip.
| | 01:58 | If you press F5, you notice we didn't
have anything selected, so let's select
| | 02:02 | the clip and click Apply.
| | 02:04 | Okay, so as you can see, we've
got something going on here.
| | 02:10 | If you jump to the Inspector, you'll
notice there's an option for intensity, so
| | 02:14 | let's crank that up here a little bit.
And I'm going to zoom in on the canvas,
| | 02:19 | so we can sort of see
what this look like at 100%.
| | 02:23 | That filter in and of itself looks pretty cool.
| | 02:26 | It only has two adjustments
available: the Intensity and the Mix.
| | 02:32 | So this will actually mix the
filter in with the background video.
| | 02:36 | One of the things that I prefer doing,
as opposed to adjusting the mix, I like
| | 02:41 | to just duplicate the video layer if I
want to mix the scene with the video.
| | 02:46 | So let's select the video layer and
press Command+D. On the lower video layer,
| | 02:51 | delete the filter just by selecting
in the Layers panel and press Delete.
| | 02:56 | Now I know we can't see that mix
happening because this top layer's visibility
| | 03:01 | is still on, but dividing it up like
this gives us the ability to use blend
| | 03:06 | modes to control the blend, as opposed
to just an opacity change between the
| | 03:11 | treated footage and the untreated footage.
| | 03:13 | So with our top video layer selected,
if you go to the Properties section of
| | 03:18 | your Inspector, go to the
Blending area and adjust the blend mode.
| | 03:22 | Now if you choose Multiply, notice
nothing really happens. What you want to do
| | 03:28 | is choose Screen because screen will
make any black pixels transparent and
| | 03:34 | lets light pixels show through.
| | 03:38 | So as you can see here, we've got
this kind of cool effect happening.
| | 03:41 | I'm just going to zoom back out here.
And as you can see, I've added a little
| | 03:45 | bit more energy to the scene.
| | 03:47 | If we begin playback, you'll notice
it's really kind of given a highly
| | 03:52 | stylized look to this.
| | 03:54 | Now I'm definitely not done treating
the footage, but most of the time once I
| | 03:58 | start layering filters and
working with multiple layers like this,
| | 04:02 | it's just a question of becoming
a little bit of a mad scientist.
| | 04:05 | You would want to go in there, mix one
parameter with another and layer other
| | 04:09 | filters and effects,
and see what you can come up with.
| | 04:12 | So instead of diving down that rabbit
hole right now, I'm going to save that
| | 04:16 | for our next video.
| | Collapse this transcript |
| Applying multiple filters| 00:00 | Rarely can you apply a filter to a
piece of video or your graphic and just
| | 00:06 | have that one filter achieve the desired affect.
| | 00:09 | Most of the time you do want to end up
layering and mixing and creating crazy
| | 00:14 | adjustments until you get
exactly what you are looking for.
| | 00:16 | So the original thought behind adding
filters to this one shot was to actually
| | 00:21 | add a little bit more energy to the scene.
| | 00:23 | While I like this general look, it's not
really quite there yet, so let's watch
| | 00:30 | this play back and see what we can
do to kind of punch this up a bit.
| | 00:33 | (video playing)
| | 00:42 | So as I'm watching this play back,
I'm noticing that the edges are glowing and
| | 00:47 | I'm getting little bit of a ripple and
it's kind of a cross between too blurry
| | 00:51 | and too clear, so I honestly think we
should either really heavily stylize this
| | 00:57 | or take the glow back a quite a bit.
| | 00:59 | If we select our top layer that
actually has the filter edges applied to it--
| | 01:04 | let go ahead and select that layer--
| | 01:06 | we can adjust its opacity in
addition to its blend mode.
| | 01:11 | See, if I bring the Opacity down here,
I'm definitely taking down that effect.
| | 01:16 | That's definitely not what I want to do.
As I'm looking at that, I think what we
| | 01:20 | need to do is actually punch
up this edge a little more.
| | 01:23 | When I click on Edges and we look in
the Filter section of our Inspector,
| | 01:28 | you notice we only have the two
sliders, Intensity and Mix, and if I crank up
| | 01:32 | the Intensity, yeah, it's kind of
getting close, but really, I want to soften
| | 01:37 | the edges a little bit.
| | 01:38 | So in order to do that,
I need to apply another filter.
| | 01:42 | So if you go back to the Library here,
we can go to Filters, and I'll just add a
| | 01:46 | slight glow to this.
| | 01:48 | Now there are number of different glows
that you can add. If you click on each
| | 01:53 | one, it will give you a nice description.
| | 01:56 | So Bloom adds blooming highlights to the
lighter areas of an object based on the threshold.
| | 02:02 | Well, if I added this, it would add a
glow to his entire shirt as well as
| | 02:07 | everything else. Let's see
what that actually looks like.
| | 02:09 | Now I'm just going to drag the filter
and drop it right on the video file in
| | 02:14 | the Layers panel and notice immediately,
things are getting punched up a little more.
| | 02:19 | When we jump to the Inspector, notice
there are many more options we can go
| | 02:22 | through, so this is
exactly what I was looking for.
| | 02:26 | Notice as I drag the Amount up
everything is getting soft and kind of blown
| | 02:30 | out, and I'm getting some fun colors
along the sides here as well, which is
| | 02:34 | adding to the energy.
| | 02:36 | It is little bright, so we can bring the
brightness down and kind of make an adjustment.
| | 02:41 | Now notice you know, once I get to a
certain point, it just sort of snaps off.
| | 02:46 | Well, you can adjust the threshold accordingly.
| | 02:49 | So it should make it a little less or
little more sensitive. So here as I drag
| | 02:54 | the Threshold down, it's going to
apply this glow to more of the layers.
| | 02:59 | I can adjust how it's glowing horizontally as
well as vertically, so it's just kind of neat.
| | 03:07 | You can definitely keyframe any of
these parameters just by clicking the plus
| | 03:13 | button here. We could add a parameter
behavior to pop up the energy, and actually I think
| | 03:18 | I kind of want to do that. So let's go
to the Vertical section here, and if you
| | 03:23 | just Control+Click or right-click right on
the word Vertical, we can choose to add a
| | 03:27 | parameter behavior, and I
just want to choose Randomize.
| | 03:32 | This is going to add to that parameter
at least 10. So let's crank that up to
| | 03:38 | around 24, and now when we look at this,
you should notice a fair amount of
| | 03:43 | jittering that's happening throughout the scene.
| | 03:49 | If you are having a hard time seeing
it, you can definitely crank up the
| | 03:52 | Amount and watch playback again, and here
you notice now it's really, really flickering.
| | 03:57 | This looks kind of cool, and this is
definitely a little bit more like what I was
| | 04:00 | looking for. It's kind of hard to
interpret what's going on in the scene, and we
| | 04:06 | have this strange blend
of reality and not reality.
| | 04:10 | So in order to finish this blend of
high-energy stuff, I want to adjust the
| | 04:16 | colors and just sort of create a tint over
the entire thing to bring this all together.
| | 04:22 | Since I have separate control of
the layer with the glow as well as the
| | 04:27 | background video layer, I'll
actually just stylize this background video
| | 04:31 | layer, because that's the most of the
color that I want to be dealing with as
| | 04:34 | far as creating that.
| | 04:36 | So if we go to the Library here,
I can go to Color Correction and look at
| | 04:42 | Colorize. So let's just drag it and
drop it right on our lower video layer, and
| | 04:48 | you notice it's created this kind of funky tint.
| | 04:51 | If we open the Inspector, let's remap
black from this kind of a reddish color to
| | 04:56 | more of a dark purple.
| | 04:59 | Okay, and we can do the same thing with
white here. Let's just remap it to more
| | 05:06 | of a light blue kind of color.
| | 05:11 | Okay, so that's given me a little bit
more of a tint. The only other thing I do
| | 05:15 | is probably pop the contrast a little
bit, so to quickly do that, we'll go to
| | 05:19 | Filters > Color Correction and go to Contrast.
| | 05:23 | When we adjust the Contrast here,
now that's going to give us that little bit
| | 05:27 | of deeper saturation. If we adjust the
pivot point, it's just determining the
| | 05:32 | luminance that it can going to be choosing to
adjust before it starts bringing in the contrast.
| | 05:37 | So this has definitely created a little
bit more of a high-energy feel to our
| | 05:43 | video graphic. There's just one thing
I want you to understand about filters
| | 05:48 | before we finish here.
| | 05:50 | I'm going to press Command+1 twice to
just hide the left side of the interface
| | 05:55 | and Shift+Z, so you can see a large
version of the video, as well as the names of
| | 06:00 | all the filters that we're dealing with.
| | 06:01 | Part of the reason that I had us
duplicate the different video layers and apply
| | 06:06 | filters to each section is control.
| | 06:09 | We can make adjustments to this
background video, and that has separate control
| | 06:13 | from the overall glow, but also, the order
in which you apply filters has a huge impact.
| | 06:20 | So right now, the way this is set up on
the Glow video layer, this upper layer,
| | 06:27 | we have our randomize behavior which is
tied to our edges filter and then after
| | 06:33 | edges we have a bloom.
| | 06:35 | So the way filters work are actually
from the bottom up. So if I change the
| | 06:40 | order of Edges and Bloom, watch what happens.
| | 06:45 | See, if I did the Bloom--let's deactivate
edges--what it does it just creates that
| | 06:50 | soft look for the video. Let me
just turn off that background layer.
| | 06:53 | So see, when you add Bloom, it just
create that soft look, and that really muddies
| | 06:57 | things up so when edges comes around it
cuts out the edges. But if we do this in
| | 07:02 | the opposite order, it finds the edges
first and then blows out that Bloom,
| | 07:08 | and then of course with our duplicate
video layer that's when we brought in the
| | 07:12 | different color wash and
kind of rocked things out.
| | 07:15 | So if we go ahead and press Play,
we can watch what's going on in our scene.
| | 07:21 | So as you can see, we've added a
lot more energy to our scene.
| | 07:25 | Now it's just a question of integrating
this with the rest of the edit to truly
| | 07:29 | create something that's high energy.
| | Collapse this transcript |
| Timing a style with filters| 00:00 | Now inevitably when you start layering
filters onto a piece of video you'll end
| | 00:04 | up with something that you think looks
kind of a mess, and don't worry, that's
| | 00:09 | pretty normal. But one of the ways you
can actually add polish to the clip is by
| | 00:14 | adjusting the timing of those effects.
| | 00:18 | And when you adjust the timing it
creates a whole different feel, and all the
| | 00:22 | sudden it doesn't look nearly as messy.
| | 00:24 | Let's get started by selecting our
topmost layer here, and this is the layer that
| | 00:30 | contains all of this kind of funky glow effect.
| | 00:33 | As I'm looking at this, let's move our
playhead back to the beginning and press
| | 00:37 | play and see what we're dealing with.
| | 00:40 | Okay, so as you can see, there is a fair
amount of camera shake in the scene, and
| | 00:45 | there is a lot of moving going on.
| | 00:46 | I'm just going to stop playback for a
second because I know there is audio
| | 00:50 | embedded in this clip.
| | 00:51 | If I enable the audio,
we can move back and press play
| | 00:55 | (music playing)
| | 01:01 | And you can hear that,
yes ,he was dancing to audio.
| | 01:04 | Now typically when you go to finish
your edit, you would want to mix in the full
| | 01:08 | audio, not that natural
recorded audio from the scene.
| | 01:12 | But for here it's important to
understand that there is audio driving this.
| | 01:16 | So chances are this music may get mixed back in.
| | 01:19 | So when we make these adjustments,
we want to kind of make adjustments sort of on
| | 01:24 | the beat a little bit.
| | 01:25 | So I'm just going to press Play and
then stop playback when it hits a beat.
| | 01:28 | (music playing)
Okay, cool.
| | 01:31 | So right here I want this to change.
| | 01:36 | I'm not sure exactly how I want it to
change, but let's see what we can do.
| | 01:41 | First thing, let's select our Edges
filter and with it selected in the Layers
| | 01:45 | panel, if you press I, that
will just trim the in point.
| | 01:48 | So up to this point we'll just have this kind of
stylized video and then boom, we get some edges.
| | 01:55 | I'm just going to move down and
stop again here in a little bit.
| | 01:58 | (music playing)
| | 02:00 | Okay, so here we'll just press O
to trim the out point of that edge.
| | 02:06 | (music playing)
| | 02:12 | And then maybe back here
we'll want to bring that back in.
| | 02:15 | So if you want to do that more than
once, you could edit the video, or we could
| | 02:21 | just go ahead and hold down Option
and reapply this filter again, and I'll
| | 02:25 | just slide it back down in the layer
hierarchy, and we can just drag this back down again.
| | 02:31 | So here we've got our filter, no filter.
You get the idea.
| | 02:39 | So you can kind of edit this a little bit.
| | 02:42 | If I really wanted to add a little bit
more energy to this, we can go ahead and
| | 02:46 | make one more adjustment.
| | 02:49 | So for this section, just before it
goes out, I want things to pop a little bit.
| | 02:54 | So I'm going to move my playhead back
here, so after it comes in, rather than
| | 02:59 | just having to glow sit right on the edges
of what he's doing, let's split this effect.
| | 03:05 | And we could do that by trying to
duplicate the effect again and marking
| | 03:10 | the in point and out point, but what
I'm actually going to do is split this
| | 03:14 | video layer right here.
| | 03:16 | So if we go up under Edit,
notice we can't access Split.
| | 03:19 | So in order to do this, let's just
create a duplicate of this video layer.
| | 03:25 | Just press Command+D, and now I'm going
to trim that out point of this layer by
| | 03:31 | pressing O. And then let's move one frame
down the Timeline, and then we can trim
| | 03:39 | that in point of the
subsequent layer by pressing I.
| | 03:43 | So if we press F6, we can look at out
Timing pane, and you notice here that I
| | 03:48 | actually have a cut that's
happening between the video layers.
| | 03:53 | Here is Wide 1, here is Wide 1 copy.
| | 03:57 | So now all we have to do to kind of
add a little more pop to this, with this
| | 04:02 | copy layer selected, let's zoom out
in the canvas here and scale this up.
| | 04:08 | Now I'm going to press Shift+Option so
it scales up around the center point.
| | 04:13 | You can kind of reposition this
however you like, but now it's just going to
| | 04:17 | add a neat jitter effect.
| | 04:19 | If you press Shift+Z, we'll resize the
window and we can press F6 to close our
| | 04:26 | Timing panel, and let's
check out what we've done.
| | 04:30 | (music playing)
| | 04:38 | So as you can see, when it comes to
adding polish to your filters, it's really
| | 04:43 | important to just take the time and
adjust the timing and don't be afraid
| | 04:47 | to duplicate the layer that you're
working with and adjusting the trimming accordingly.
| | Collapse this transcript |
|
|
8. Using Masks and ShapesCreating and adjusting shapes| 00:00 | If you've already gone through the
first chapter about creating shapes, some
| | 00:04 | of this may be a little bit of a
review, but I am going to show you some
| | 00:08 | different ways that you can stylize
the shapes and different ways to create
| | 00:12 | some custom shapes as well.
| | 00:14 | To get started, let's look at our scene here.
| | 00:16 | If you press F5, you will notice we have
our background video layer and then we
| | 00:21 | have this graphic build that's built
over top of it, and both of those layers are
| | 00:25 | locked off, so we can't mess with them,
and we're going to add any new shapes to
| | 00:30 | this new group layer.
| | 00:31 | Let's go ahead and rename
this group layer Shapes.
| | 00:36 | Now with that set, let's go down to
the toolbar and click and hold on the
| | 00:42 | Rectangle tool, and notice I can
create rectangles, circles, or lines.
| | 00:47 | I want to create a circle.
Let's go ahead and choose Circle there.
| | 00:51 | Now if you go up to View and enable
the grid, what you can do is figure out
| | 00:57 | exactly where the center of the composition is.
| | 00:59 | See, I like using this because when I
create circles I like things to actually
| | 01:04 | be centered properly.
| | 01:06 | If you move your cursor right over that
center grid and click and drag and hold
| | 01:11 | down Option as well as Shift, you can
scale up this circle, and the center of the
| | 01:18 | circle will end up in the
center of the composition.
| | 01:20 | Well, in order to see that, I need to
grab my Selection tool there, and you
| | 01:25 | can see it's lined up.
| | 01:26 | Now if you want to make doubly sure,
go to the Inspector and under the
| | 01:30 | Properties you want to look at the
Anchor Point, which it's set to zero, and
| | 01:36 | zero. And if we go to the Shape here,
you can also look at the geometry, and in
| | 01:41 | here you can see the different
control points are actually on zero.
| | 01:46 | We have done a pretty
good job of lining things up.
| | 01:49 | This circle is actually 158.5
pixels large all the way around.
| | 01:56 | Now we're actually ready to stylize this circle.
| | 01:59 | I am going to go back up under
my view and turn off the grid.
| | 02:03 | With the handles visible,
obviously, we know what the handles do,
| | 02:07 | so I am just going to go ahead and hide
my handles, and I could leave the square
| | 02:13 | up there, just so I know that it's selected.
| | 02:17 | If you go to Style options for the
shape, sure enough these styles look very
| | 02:22 | similar to the text styles.
| | 02:25 | I didn't show you this in the text
section, but if you click under Shape Style,
| | 02:30 | there are a whole bunch of presets that
you can use if you want to actually use
| | 02:36 | a preset style for your shape.
| | 02:39 | Now many of these are actually set up
to use with the paint engine, so I am not
| | 02:44 | going to use this for this right now.
| | 02:47 | What I am going to do is
just fill this with a gradient.
| | 02:52 | When I've chosen Gradient, I want to
actually be able to control the start and
| | 02:57 | the stop of the gradient visually,
and in order to be able to do that, you need
| | 03:02 | to actually use a different
tool, the Adjust Item tool.
| | 03:05 | So click and hold on the Transform tool
in the toolbar and go Adjust Item, and
| | 03:10 | sure enough, now I can see the start
and the end point for the gradient and
| | 03:16 | adjust them visually.
| | 03:18 | So first thing, I'll move the end point
to the outside of the circle right there
| | 03:22 | on the edge, and just so I can see
things a little more clearly, I'll change my
| | 03:26 | magnification to 100%.
| | 03:28 | I can bring the center point right down
here to the center of the circle, and I
| | 03:35 | could adjust this accordingly if I
wanted to have a linear gradient populate
| | 03:41 | this circle, but it really doesn't
matter where I position the second point, as
| | 03:45 | long as it's the edge of the circle.
| | 03:47 | The reason: I want to use not a linear gradient,
but I want to actually use a radial gradient.
| | 03:57 | Expand the options for the Gradient,
and go down to Radial, under Type, and
| | 04:03 | in here now you can see I have a pretty neat
radius set up for this gradient to inhabit.
| | 04:11 | As I'm looking at this,
the edges aren't quite lining up.
| | 04:14 | So if I click and drag, notice I get a
snap, and that snap is snapping right to
| | 04:20 | the edge of the shape.
| | 04:21 | So let me see if I can get the same
thing for the center of the circle, and sure
| | 04:24 | enough, I can, with those guides.
| | 04:26 | So now I know that this gradient is
centered on the shape I've actually created.
| | 04:31 | Of course, I can tweak how this
gradient looks just by clicking and dragging.
| | 04:39 | So in order to blend this into the
scene a little bit more, I want to actually
| | 04:45 | adjust the Properties section and
change the blend mode of the shape.
| | 04:50 | Now if I choose Multiply, it's going to
go ahead and try and knock out any of the
| | 04:56 | white pixels, and then any of
the darker pixels will fill in.
| | 05:01 | So you can see, when I've chosen
Multiply, I'm getting a slightly different
| | 05:07 | blend to this circle.
| | 05:09 | So if I deselect just by clicking
anywhere in the Layers panel and press
| | 05:14 | Shift+Z, you can see how my new shape
is looking in regards to the overall
| | 05:20 | build of this graphic.
| | 05:22 | Creating shapes and filling their
properties with different styles is very much
| | 05:27 | like adjusting the
different styles for type layers.
| | 05:31 | I can adjust the outline and I can make
other adjustments to this shape, but I
| | 05:36 | want to show you how to
create a fully custom shape,
| | 05:39 | and the easiest way to do
that is by using the Bezier tool.
| | 05:43 | If I go ahead and click on the Bezier
tool, I can click once and click again
| | 05:47 | and click again, and as I just keep
clicking and moving, notice I'm getting nice
| | 05:52 | sharp edges to my custom shape.
| | 05:55 | So as I do this, I know I'm
going to have a sharp shape.
| | 06:00 | When I move my Bezier tool over the
originating point, see how I get that circle?
| | 06:05 | That's letting me know that that's
going to close off this shape, and now I get
| | 06:10 | this kind of arrow-looking shape.
| | 06:12 | Once you've created the base geometry
for your custom shape, you can go in under
| | 06:17 | the Geometry area and adjust different
things like the roundness of the shape
| | 06:22 | within those points, as well as
the specific points themselves.
| | 06:28 | This is really nice, because I can go
back in and just make sure that things
| | 06:32 | line up perfectly, precisely by
adjusting the mathematics of the overall shape.
| | 06:39 | The last thing I want to show you about
creating shapes is the options you get
| | 06:44 | when adjusting a line.
| | 06:46 | So navigate to the Line tool, and if
you just click and drag anywhere in the
| | 06:51 | Canvas, if you hold down Shift as
you're dragging, it will snap in 45-degree
| | 06:55 | increments, and when I let go,
now I have a line in the scene.
| | 07:00 | And notice, when you choose line,
instead of having options for a fill under the
| | 07:04 | Shape Style, you have options
for the actual outline itself.
| | 07:08 | So you can adjust different things like
points, start caps, end caps, the first
| | 07:15 | point offset, the last point offset.
| | 07:17 | To better illustrate exactly how these
joints work, I want to add another point
| | 07:21 | to this line, and to do that, if you go
to the Bezier tool--I can just go ahead
| | 07:26 | and just click on that--
| | 07:27 | when I hover over that line, I should
be able to actually add an extra point.
| | 07:33 | Notice when I click it's not really doing that.
| | 07:35 | So let me undo that.
| | 07:37 | What I need to do is go in under Edit Points.
| | 07:41 | Now with that selected, if I
hover over the line, check it out.
| | 07:46 | Now I'm getting the plus symbol,
| | 07:48 | letting me know I can add a point there.
| | 07:49 | So notice as I hover over the line,
I am getting the Pen tool, but sometimes
| | 07:54 | it's actually kind of hard to get that.
| | 07:56 | So if that's being problematic,
you can increase the magnification.
| | 08:00 | I am going to bump mine up to 100.
| | 08:01 | That way it's a little bit easier to achieve.
| | 08:04 | Now if you just click on the line,
that will add a point, and to be able to see
| | 08:09 | that point, if you go to Geometry,
notice now I have three points.
| | 08:14 | I notice I'm not seeing that point.
| | 08:16 | With this tool selected, the Edit Points
tool, I should be able to see all the points.
| | 08:22 | So that's a telltale sign that under my
View options, I don't have Handles enabled.
| | 08:27 | Now I can actually see the points for that line.
| | 08:31 | And if we use Command+Minus, I can zoom
back out, and now I can move this line.
| | 08:37 | I want to create a rather sharp
angle here, and even though the line is
| | 08:41 | overlapping with this other shape, I
want to be able to show you exactly what
| | 08:45 | these different taps do, as far
as the style of this overall shape.
| | 08:50 | Let's select our Transform tool, so we
can get rid of those handles, and I just
| | 08:56 | want to turn off the lines for a second--
here, let's zoom in--so we can get a
| | 09:01 | clear look at this curve.
| | 09:03 | I used the Command+Plus tool to zoom in,
and I held the spacebar and clicked and
| | 09:08 | dragged to quickly grab my handle.
| | 09:11 | So now that we can clearly see
this corner, let's look at the Joint
| | 09:15 | options. Let's go to Square.
| | 09:17 | Sure enough, that gives me a stronger
point and if we go to Bevel, that sort of
| | 09:22 | cuts off the point a little bit.
| | 09:24 | So we could choose Square and you could
do the same thing for the start and the
| | 09:30 | end points as well.
Here, let's look back over here.
| | 09:33 | It's a little easier to see with this one.
| | 09:35 | I can turn off my handles again, but I
don't want to worry about doing that just yet.
| | 09:39 | Let's go to Square, and you can see
that that's cut off. But notice--one
| | 09:45 | last thing--if your adjusting the
end cap or the start cap, there is an
| | 09:50 | option to have an arrow added to the
shape, and I'll show you how that's
| | 09:55 | really cool a little bit later,
but for now I think you get a pretty firm
| | 10:00 | idea as to how to create shapes
and go through some of the different
| | 10:04 | options under the Shape Styles.
| | Collapse this transcript |
| Using shape behaviors| 00:00 | We're going to build kind of a
kaleidoscope, funky animation using shapes
| | 00:06 | and shape behaviors.
| | 00:08 | Now when you want to create something
that looks pretty complex, all you have
| | 00:11 | to do is start with a simple object, begin
the animation, and then just start layering.
| | 00:17 | So as you can see in our scene here,
we have our background video, our
| | 00:21 | background texture of circles, and a
kind of diamond shape, which is just a
| | 00:26 | square turned on its axis.
| | 00:29 | Now, to begin the animation, I just want
to use some behaviors from the Library.
| | 00:35 | So in the Behaviors section of the
Library, go to the Shape area, and the one
| | 00:41 | thing that I want to do is oscillate the shape.
| | 00:44 | This is what's going to start the
animation for our kind of kaleidoscope effect.
| | 00:49 | So to apply that, since the shape is
already selected, just click the Apply button.
| | 00:55 | If I press the spacebar, we can
get a preview of the animation.
| | 01:02 | Notice with the shape selected,
I'm still seeing the bounding box, but I am
| | 01:06 | getting a pretty good
preview of the animation here.
| | 01:09 | To tweak this, you want to make sure to
pay attention to the actual Frames Per
| | 01:13 | Second, so you can see exactly how fast
it's really moving, and you also want to
| | 01:19 | make sure to select the
behavior as you make your adjustments.
| | 01:23 | That way, you'll be able to see the
different parameters in the Inspector.
| | 01:28 | So I am just going to stop
playback for a second here, and I want to
| | 01:31 | increase the speed.
| | 01:33 | You can have it oscillate around the
point origin, which is right here in the
| | 01:37 | center, or you can have it
oscillate around a specific Line.
| | 01:41 | I'm just going to leave Point Origin selected.
| | 01:44 | Notice down here I can choose
different parameters for that, but since I want
| | 01:48 | to create this kind of kaleidoscope
effect, this will be perfectly fine.
| | 01:52 | Increasing the speed, I'm not
really getting real-time playback.
| | 01:56 | So just to make sure I know what I'm
looking at, I will move my playhead back to
| | 02:00 | the beginning and press
Command+R to load up a RAM Preview.
| | 02:05 | Just like with anything else with RAM
previews, at any given time, you can just
| | 02:10 | stop the RAM Preview, and just make
note of the area of the Timeline that's
| | 02:14 | highlighted in green.
| | 02:16 | That will let you what is most
likely going to play back in real time.
| | 02:20 | So that's much closer to the
speed that I was looking for.
| | 02:24 | So we've already created the
first part of our animation.
| | 02:28 | Now all we have to do is start layering.
| | 02:30 | So I am going to stop playback for a
second here, select my shape, and then hold
| | 02:35 | down Option as I drag up in the Layers panel.
| | 02:40 | Now with this duplicate shape, I could
adjust the scale just by clicking and
| | 02:44 | dragging while holding down Shift
and Option, so it scales in proportion
| | 02:48 | around the center point.
| | 02:50 | For this one, I just want to
add a slight feather to the edges.
| | 02:54 | That looks pretty good. And we
can adjust the color a little bit,
| | 02:59 | so I'll bring the color a little bit more
towards this vibrant sort of teal effect.
| | 03:06 | Just so this stays mirrored with the center
point, I'm going to leave the behavior alone.
| | 03:12 | To add another effect on top of that,
let's hold down Option and make a copy
| | 03:17 | of our larger shape.
| | 03:19 | Now with this, instead of leaving it
as a fill, I will turn off Fill and
| | 03:25 | just turn on Outline.
| | 03:27 | Now you can see we are really starting
to get some interesting kind of shapes
| | 03:31 | happening, and just to kind of create
a little bit more of that kaleidoscope
| | 03:35 | flavor, instead of leaving the
behavior alone, I am going to go back and
| | 03:40 | select the behavior in the Behaviors
tab, and make sure that I adjust the
| | 03:46 | phase of this a little bit.
| | 03:49 | So now this line will actually be out
of phase when I began playback again.
| | 03:55 | Notice how it's kind of leading
the animation now, sort of neat.
| | 04:02 | Just so we have some other shape
behaviors, I'll make one more copy by holding
| | 04:09 | down Option and dragging, and notice
when we went to the Outline, instead of
| | 04:13 | having this Shape icon, we
now have a Paintbrush icon.
| | 04:17 | That's because now, technically,
this is painted into the scene.
| | 04:23 | Now just so we can see a difference
between this line and the next one, I will
| | 04:27 | scale this down again, making
sure I hold down Option and Shift.
| | 04:32 | Now with this scaled down, let's add
a different style to this brush.
| | 04:39 | I can choose Airbrush or I can choose Image.
| | 04:44 | If we choose Image, look what happens.
| | 04:47 | There isn't much of a change,
but it's going to ask for a Brush Source.
| | 04:51 | Since I don't really have anything else
in this comp, I'd have go to the Finder
| | 04:56 | to drag something else as a Brush Source.
| | 04:58 | So instead of using Image,
let's just choose Airbrush.
| | 05:02 | When you choose the Airbrush,
the Airbrush is made up of little dots,
| | 05:07 | so in order to see those dots, what
we need to do is adjust the Spacing.
| | 05:11 | As I increase the Spacing out here
a little bit, you can see the dots
| | 05:16 | that populate the scene.
| | 05:17 | Let me go ahead and change the
magnification up to 100, and now I can see it a little better.
| | 05:22 | Just to add a different behavior to this,
I am going to layer another behavior.
| | 05:27 | I am going to go back to the Library,
and in the Shape behaviors I want to
| | 05:31 | apply Sequence Paint.
| | 05:33 | This will automatically animate
any parameters through this sequence.
| | 05:39 | So let's click Apply, and now to
sequence this paint I will go to my Inspector.
| | 05:45 | Under the behaviors, I need to add
the parameter I'd like to sequence.
| | 05:50 | I want the color of this
to kind of strobe through,
| | 05:53 | so under the parameter, I want to choose Color.
| | 05:57 | And let's change the color to kind of a
vibrant green, and I don't want it to go To;
| | 06:04 | I want it to sequence Through.
| | 06:07 | So this way it'll start and
sequence around the entire shape.
| | 06:13 | It's hard to see like this,
| | 06:15 | so what I want to do is increase the
number of loops, so that way once it goes
| | 06:20 | around once, it will continue moving
around, and just so I can see this a little
| | 06:24 | bit better, I do want to change
the size of these little paint dabs.
| | 06:31 | In order to do that, I just increase
the width of the brush, and sure enough,
| | 06:37 | now I can see the green a little bit more.
| | 06:40 | If we press Shift+Z, we will resize this,
and I can go ahead and preview this
| | 06:46 | just by pressing the spacebar. And as
you can see, even though the points are
| | 06:50 | moving around, that color is
strobing through the shape.
| | 06:54 | Now traditionally, what I would do is
continue layering the different elements,
| | 06:59 | and I probably would've kept a more
narrow number of points. But as you can see,
| | 07:06 | we've already got our kaleidoscope
effect created just by manipulating a number
| | 07:12 | of these small different shapes.
| | 07:16 | When it comes to applying shape
behaviors to different shapes in your project,
| | 07:21 | understand that whether it's a fill
or an outline, you actually can create
| | 07:27 | different animations because the shape
will change from a filled shape, to an
| | 07:31 | actual paintbrush brushstroke.
| | 07:34 | And we'll actually cover how to
animate paintbrush brushstrokes in
| | 07:38 | another chapter.
| | Collapse this transcript |
| Creating and adjusting masks| 00:00 | Now we've all been in that situation
where your client's come up to you and said,
| | 00:03 | "Hey, can you cut this out of the
background," and you look at them and go, why
| | 00:08 | didn't you shoot this on green screen?
| | 00:10 | But you and I both know most of the
time when that happens you really don't
| | 00:14 | have a choice anyway.
| | 00:15 | So the best thing to do is actually
cut out the piece of video using a mask.
| | 00:22 | I am going to be using kind of an
interpretation of a cut-out since the edges of
| | 00:26 | her hair are so soft and there are so
many fine details, there's no possible way
| | 00:32 | where I'm going to actually create an
edge of the mask that actually looks real,
| | 00:36 | like she's standing over the background.
| | 00:39 | What I need to do is create kind of a
soft interpretation of her being cut out
| | 00:44 | of the background, and we are actually
going to blend that into a graphic and
| | 00:49 | create an interesting graphic build.
| | 00:51 | This will be a title card
for this person in the scene.
| | 00:54 | To get started, let's press F5 and
view what we have got going on here.
| | 00:59 | As you can see, we've got our video
layer and we have a background graphic.
| | 01:04 | If I turn on its visibility, you
can see it's kind of a bokeh effect.
| | 01:08 | This was created with a cellular
generator, and I am going to show you how this
| | 01:12 | was created in the Generators chapter,
but for now, let's focus on masks.
| | 01:18 | Just for speed's sake, I am going to turn
off this generator for right now and turn
| | 01:23 | back on the visibility of our video layer.
| | 01:26 | Since I don't need to use the File
Browser for the time being, let's press
| | 01:30 | Command+1 and hide it so we have a
little bit more real estate to work with.
| | 01:34 | Now to create a mask you need to
first make sure you have the proper layer
| | 01:39 | selected that you want to mask,
| | 01:40 | so I'm going to select the portrait_
claire layer. And also, you typically want to
| | 01:46 | start drawing your masks from off the
edge of the scene, especially when you
| | 01:51 | have an image like this where this is a tight
crop and she goes off the edges of the image.
| | 01:57 | So press Command+Minus to zoom
out just a little bit here.
| | 02:01 | As you can see, this piece of video is
a little bit larger than our projects,
| | 02:05 | but I like how this is looking, so I
am just going to leave it the way it is,
| | 02:08 | and grab our Mask tool.
| | 02:10 | If you notice, it's the rightmost tool
out of all the tools on the left side of
| | 02:15 | the bottom of the interface. And if you
click and hold, notice we have a bunch of
| | 02:19 | different options from
rectangle to circle to freehand masks.
| | 02:23 | The one I want to choose
is called a B-Spline Mask.
| | 02:26 | The reason I want to choose this, it's
automatically going to create soft-edge
| | 02:30 | transitions without having to draw out
any Bezier handles to control the shape.
| | 02:36 | With the B-Spline Mask tool selected,
notice as I move my cursor over the canvas,
| | 02:41 | I can see I have the Pen
tool and it's a B-Spline Mask.
| | 02:45 | That's what that little icon
is in the lower-right corner.
| | 02:48 | If we go ahead and click,
| | 02:49 | what you want to do is click around the
edges of Claire and make sure that you
| | 02:57 | have enough points to get the kind of
detail that you are looking for, but not
| | 03:03 | so many that it takes
absolutely forever to render.
| | 03:07 | Another reason you want to watch the
number of points is the fact that you don't
| | 03:12 | what to have to add any points later
on if the shape became more complex.
| | 03:16 | See, if you add points, when they go to
animate, you'll get this weird kind of
| | 03:20 | jumping effect, and you
definitely don't want to have that.
| | 03:23 | If you are cutting out something
that's a little more complex than what I'm
| | 03:27 | showing you here, you want to actually
start by masking the most complex shape
| | 03:32 | you can find and then just work
forwards and backwards up and down the Timeline,
| | 03:37 | adjusting where the points are
to actually animate your mask.
| | 03:40 | You can notice I've stopped here, as I was
yapping about points and all that stuff,
| | 03:45 | because I wanted to show how
important it is when you get back to the first
| | 03:49 | point, you want to make sure that
the icon changes to that open circle.
| | 03:54 | That's letting me know that
I'm closing off that mask.
| | 03:57 | So when I click, it's closed off.
| | 04:00 | Now that I have this rough outline
shape I just want to click off of the
| | 04:05 | B-Spline Mask that's been applied to
the video layer just by clicking anywhere
| | 04:09 | else in the Layers panel.
| | 04:11 | And here you can see the edge that I've
created. This is a little hard edge for
| | 04:15 | what I'm looking for,
| | 04:17 | but it's relatively close.
| | 04:19 | So all I need to do is just select
the B-Spline Mask and press Command+3 to
| | 04:23 | open the Inspector.
| | 04:25 | In the Mask section here you'll notice
I have several different mask controls.
| | 04:31 | If we go to the Mask blend mode the
two most common ones you will want to use
| | 04:35 | is Add and Subtract.
| | 04:37 | As you can see, one adds the video,
the other subtracts the selection.
| | 04:44 | Replace and Intersect actually worked
if you have more than one mask applied
| | 04:50 | to your video layer.
| | 04:53 | Just to show you how to do that, I am
going to reselect the video layer and go
| | 04:58 | back to my B-Spline Mask tool
and I'll just add another shape.
| | 05:03 | Just to kind of show you again,
I will mask off this one section here,
| | 05:08 | again, making sure to close the mask.
And notice by default when two masks are
| | 05:13 | applied, it creates one huge mask.
| | 05:17 | This is really nice if you have got a
complex shape. You could actually create
| | 05:20 | one shape for one part of the image
and another shape for another part and
| | 05:23 | once the multiple masks are added
together, it will look like it was all just
| | 05:27 | created with one mask.
| | 05:28 | Let's reselect our first B-Spline
Mask and look at the Mask controls.
| | 05:33 | Change the Mask blend mode from Add to Replace.
| | 05:38 | Now you notice when you choose
Replace it's just going to replace any
| | 05:43 | subsequent masks below.
| | 05:45 | If you choose Intersect, it's only
going to show you the area of the image that
| | 05:51 | intersects between the
first and the second mask.
| | 05:56 | So now that you understand how multiple
masks work, let's just delete this second
| | 06:01 | mask by selecting it and pressing Delete.
| | 06:03 | What we want to do is
actually animate this mask.
| | 06:06 | So to animate it over time, all you
have to do is turn on your Automatic
| | 06:11 | Keyframing by pressing the A key.
| | 06:14 | With this selected, notice I've
automatically got the Adjust Points
| | 06:19 | tool selected.
| | 06:21 | All I have to do is literally just
reposition the points the way I'd like them
| | 06:26 | to appear in the scene before I
actually start my animation. So, here we go.
| | 06:32 | I was a little close there.
| | 06:36 | Now I am cutting a fair amount of the
image off, and that's just because I am
| | 06:41 | going to feather this mask once I'm
finished creating the general shape.
| | 06:46 | That will be the first one.
And notice I have a keyframe that's
| | 06:50 | automatically been created.
| | 06:52 | If I wanted this to be really precise,
I can track this frame by frame by
| | 06:55 | literally moving one frame down the
Timeline each time I hit the arrow key.
| | 07:00 | But just to give you a general idea,
I'm going to move quickly right ahead
| | 07:03 | to around 1 second.
| | 07:05 | Since her general shape is the same,
rather than clicking on each individual
| | 07:09 | point, what I am going to do is click
on one point and then press Command+A to
| | 07:13 | select all the points and quickly
just move the entire shape over.
| | 07:19 | And if I did want to tweak some of the
different points, I'd just deselect the
| | 07:23 | mask really quickly by clicking off of
it in the Layers panel and then when I go
| | 07:27 | back and select an individual point,
you can see that I can actually control the
| | 07:33 | overall shape just by
adjusting the individual points here.
| | 07:36 | I am just going to turn that off for
now and move down to around two seconds, and
| | 07:45 | we will move this one more time.
| | 07:46 | Again, select one point, Command+A,
and drag back over. All right!
| | 07:58 | This is looking pretty
close to what I was looking for.
| | 08:02 | I just want to preview this one section,
so I will change the preview range by
| | 08:06 | pressing Command+Option+O and pressing
A to disable our Automatic Keyframing.
| | 08:13 | Now let's click off of the B-Spline Mask
and press the spacebar to preview our mask.
| | 08:21 | So as you can see I've got a fair
amount of drift and to deal with this, I would
| | 08:25 | have to go in and reposition the
playhead and move the mask points accordingly,
| | 08:31 | but for illustrative purposes,
this is good enough for now.
| | 08:34 | What I want to do is just soften the
edge of the mask by selecting the B-Spline
| | 08:38 | Mask and adjusting the Feather.
| | 08:41 | You can also adjust the Falloff,
which is how quickly the feather starts to
| | 08:45 | disappear, just by adjusting
the Falloff with the slider.
| | 08:50 | Now we will adjust that to 100%.
| | 08:53 | You can actually increase the Roundness
between the different points if you want
| | 08:58 | even less detail, but I
will just leave that alone.
| | 09:01 | We have got our basic shape cut out.
| | 09:04 | Let's see how we can
blend it into the background.
| | 09:07 | If I select my Cellular graphic here
and activate it, you notice on this side
| | 09:13 | it's actually looking pretty darn good.
| | 09:15 | I bet if I went in and tweaked this
other side, I could get something that looks
| | 09:20 | relatively acceptable, which is
really kind of pleasantly surprising.
| | 09:25 | If you wanted to go for more of an
open interpretation, you could select this
| | 09:29 | video layer and go to the different
properties in the Inspector and adjusting
| | 09:33 | things like the blend mode.
| | 09:34 | For example, if we chose Lighten,
she blends into the background.
| | 09:39 | I kind of dig what this is doing, other
than this large section over her face.
| | 09:44 | In order to fix this, I am going to
select the B-Spline Mask that we've already
| | 09:48 | animated and hold Option and drag
it down to the Cellular graphic.
| | 09:54 | That way the same mask has been
applied to the subsequent layer.
| | 09:59 | In order to adjust to this a little bit,
all I am going to do is, with the mask
| | 10:04 | selected, I am going to
choose the Subtract Blend mode.
| | 10:08 | I can just go ahead and scale this
whole mask down just a little bit, and as you
| | 10:14 | can see, I am getting kind of a funky
blend back into the scene with the colors
| | 10:19 | adjusting accordingly.
| | 10:20 | If I really wanted to keep tweaking this,
I would duplicate this layer and move
| | 10:24 | it above the other layer and create
more blend modes and adjustments, but I
| | 10:29 | think you get the general idea.
| | 10:31 | When it comes to creating animated
masks inside Motion it's just as simple as
| | 10:36 | creating your mask using the same
principles we used for creating any shape with
| | 10:40 | the Bezier points, actually activating
Automatic Keyframing in your Timeline.
| | Collapse this transcript |
| Creating masks with objects| 00:00 | When it comes to creating masks using
objects in the scene, it's rather simple,
| | 00:05 | and just a question of drag and drop.
| | 00:07 | So in this video, we're going to create a
mask using the word STUDIO as the source.
| | 00:15 | And I'm just going to use this to create
yet another layer of depth within the scene.
| | 00:20 | In order to do that, I need to determine
exactly what layer it is that I want to
| | 00:25 | use to fill the mask.
| | 00:28 | So this background graphics group
actually has a fair amount of depth in it, and
| | 00:34 | I would like to fill the
letters with that layer.
| | 00:39 | So in order to do that,
we should duplicate this layer.
| | 00:42 | Select the GFX layer and press Command+D.
| | 00:45 | Now that the layer has been duplicated,
notice we've got all kinds of craziness
| | 00:49 | happening here, and that just has to do
with the fact that they're a bunch of
| | 00:52 | blend modes that were used to create this.
| | 00:55 | And that's perfectly fine because
honestly, when we mask the letters, we do want
| | 01:01 | this kind of really harsh contrast.
| | 01:03 | So most of the time when you want to
create a mask, all you have to do is just
| | 01:08 | select the layer and then go up
under Object and choose Add Image Mask.
| | 01:12 | Once you've chosen to add the image
mask, you'll get a drop well here,
| | 01:17 | and this drop well will actually turn
off the visibility of the graphic that you
| | 01:23 | originally created, and it's
kind of waiting for the mask source.
| | 01:29 | So I'm going to drag and drop the
STUDIO type into that mask as the source.
| | 01:36 | And if you give it a second,
now it's actually created a mask using the
| | 01:41 | Studio type as the source.
| | 01:43 | And we're having a hard time seeing
what's going on here for a couple of reasons.
| | 01:47 | First thing, this background
graphic is exactly the same as the fill.
| | 01:52 | So if I turn that off here, you should see
the word STUDIO filled with this graphic layer.
| | 01:58 | Now in order to get the layered
effect I'm going for, I need to make some
| | 02:04 | changes to our mask source.
| | 02:06 | First thing, I need to disable the drop
shadow because I don't really need the
| | 02:11 | drop shadow in here.
| | 02:13 | I want the word STUDIO to be really clear
and easily legible as it's been cut out.
| | 02:18 | So with this source here, since I still
want the original Studio type, I need to
| | 02:25 | actually create a duplicate.
| | 02:27 | So let's select the STUDIO layer
and press Command+D to duplicate it.
| | 02:31 | Now I can rename this one Mask,
and that way when I select the mask here, I can
| | 02:40 | look in the Inspector and see what the
Mask Source is, and sure enough, it is
| | 02:45 | the layer named Mask.
| | 02:46 | That way I'm not confused as
to which layer is doing what.
| | 02:51 | Now once you've chosen a Mask Source
for a layer, understand that it is always
| | 02:58 | going to reference this layer.
| | 02:59 | So no matter where I move this layer,
it's always going to fill with the Fill
| | 03:05 | separately from where I move the actual mask.
| | 03:08 | So notice as I move the mask to the
right side, it's only filling with the
| | 03:12 | purple; and as I move it over with the
circles area, now it's filling with the circles.
| | 03:16 | This is exactly what I want, but I
want to make this type larger and get rid
| | 03:21 | of the drop shadow.
| | 03:22 | So in the Style section under Text, I'll
just scroll down to where we have our Glow--
| | 03:29 | we can turn that off--and the Drop Shadow.
Let's disable the Drop Shadow as well.
| | 03:35 | Okay. Now we have our clean type layer,
and we can just go ahead and scale this up.
| | 03:42 | I'm holding Shift and Option as I
scale it up, and notice the type redraws, so
| | 03:47 | it's still nice and sharp.
| | 03:49 | And now when I turn on the visibility of
the original STUDIO layer and re-enable
| | 03:56 | the background graphics layer, you
should be able to see our new cutout type in
| | 04:02 | there with a little bit more depth.
| | 04:05 | Now anywhere I move this mask,
it's going to add that extra little bit of depth.
| | 04:11 | Now, this is extraordinarily busy for my
personal taste, so what I'm going to do
| | 04:16 | is actually lower the opacity of this cutout.
| | 04:20 | So here, this is the layer that's masked,
and I'll go ahead and select the layer
| | 04:26 | and if you go to Properties, we
can just bring down the Opacity.
| | 04:31 | And sure enough, it's layered in there.
| | 04:33 | If you want it to pop more, you can
adjust the blend mode just by clicking and
| | 04:38 | adjusting the blend mode accordingly.
| | 04:41 | So when it comes to creating masks
from other objects, just remember, the
| | 04:45 | original source layer is always
referenced and it is separate from the fill layer.
| | 04:51 | So as you make adjustments, you want
to be conscious and aware of whether
| | 04:54 | you're making an adjustment to the fill
or whether you're making an adjustment
| | 04:58 | to the Mask Source itself.
| | Collapse this transcript |
|
|
9. Keying Green Screen FootageUsing the keyer to composite green screen footage| 00:00 | There's really nothing more exciting to new
designers than the first time you pull a key.
| | 00:05 | Being able to make a background
transparent can really help you create all those
| | 00:08 | fun effects, with people floating
over colorful backgrounds, riding roller
| | 00:13 | coasters, flying like Superman, you get the idea.
| | 00:16 | Now if you're a long-time designer,
pulling a key may not have been something
| | 00:19 | you would've look forward to in
previous versions of Motion, but I have to say
| | 00:24 | in Motion 5 the Keyer is
nothing short of amazing.
| | 00:28 | Now before we get started with this
project, let's actually see what we're
| | 00:32 | dealing with. Press F5 to open your
Project panel and I'm just going to close
| | 00:36 | my File Browser by pressing Command+1
here, and you'll notice I have this GS--
| | 00:42 | green screen--Dancing QuickTime, and then I have
these two backgrounds that are just generators.
| | 00:48 | They are different color solids, which
you'll understand why I'm using these in
| | 00:52 | a little bit once I pull my first key.
| | 00:54 | Now with the green screen Dancing
filter selected, let's go down in our toolbar
| | 01:00 | and click on Filters.
| | 01:02 | Notice there is a whole section for
Keying, and now all we have to do is go to
| | 01:07 | Keyer. And it's pretty amazing: the
very first time you apply a key with Keyer,
| | 01:12 | it almost nails the key just about every time.
| | 01:15 | It's pretty insane.
| | 01:16 | To look at some of the options with the Keyer,
| | 01:19 | let's open the Inspector.
| | 01:20 | Press Command+3 on your keyboard,
and you'll notice the Keyer has a couple of
| | 01:25 | different sections here.
| | 01:26 | Now by default, the Keyer will
automatically pull a key based on whatever color
| | 01:32 | it sees as most dominant.
| | 01:34 | So notice there are no
settings for green or blue key.
| | 01:38 | It just looks at the image and then pulls a key.
| | 01:41 | Now I have two different backgrounds
that I like to look at keys with, and
| | 01:46 | that's just because I found these
two colors are pretty good in terms of
| | 01:50 | contrast when you're trying
to see how clean a key is.
| | 01:54 | Now if you're unfamiliar with exactly
what I mean by clean key, let's just
| | 01:58 | preview things here in a
second, and take a look at things.
| | 02:00 | I'm going to press the spacebar to
begin playback, and you will notice okay,
| | 02:05 | she's dancing around the screen
and I'm still not seeing any green.
| | 02:08 | If you Turn off the Gray layer, now
you notice we can see red and if I stop
| | 02:13 | playback here, you'll notice a couple of things.
| | 02:15 | First thing, notice it actually
keyed up the center of her shirt.
| | 02:19 | Now we're going to deal with that
actually in the next movie using something
| | 02:22 | called a holdout matte.
| | 02:24 | Now for this movie, we'll just leave
that alone and analyze something a little
| | 02:29 | harder to deal with,
and that's things like hair.
| | 02:32 | Usually when you shoot something on
green screen somebody has hair flying
| | 02:36 | around and that sort of thing, you
really need to make sure that the background--
| | 02:40 | here if we turn the Keyer off--that the
background is nice and solid like this.
| | 02:45 | The people I've shots this did an
excellent job lighting the scene, because you
| | 02:48 | notice, there's no shadows. It's evenly lit.
| | 02:52 | It's a really nice situation.
| | 02:54 | Now, when you first apply the Keyer,
it does a great job in Automatic mode.
| | 02:59 | Now the way that that works is with
this Strength parameter. See, if I drag the
| | 03:04 | Strength parameter all the way to
the left, notice the key is gone.
| | 03:08 | This is how you can actually pull your
own individual custom key, and the way we
| | 03:13 | do that is using the Refine Key section here.
| | 03:16 | So click on Sample Color and just draw a box
over here on the right-hand side of the interface.
| | 03:23 | Now notice as I draw this box, on this
red background I'm seeing all this white
| | 03:28 | that's going around here.
| | 03:29 | This is caused by the values of this
green being slightly different than the
| | 03:34 | values that I chose to key.
| | 03:36 | Now if want to key let's say this
and add that to this current key, all
| | 03:41 | you have to do is hold down Shift and
drag another selection area and then
| | 03:46 | that refines the key.
| | 03:48 | Now notice the edges of her hair still
have this kind of white edge to it, so we
| | 03:52 | can actually use the Edges selection
just by clicking on Edges. And the way this
| | 03:58 | works, you want to just click and drag
over the area that is semitransparent, so
| | 04:03 | the area that you want
to be able to see through.
| | 04:06 | Now I'm just clicking and dragging and
once I let go of my mouse notice I have
| | 04:10 | the Adjust Items tool automatically selected,
| | 04:12 | so I can click on the slider and
adjust just how strong the transition is
| | 04:18 | through this area and if I drag it
too far to the left, notice it starts
| | 04:21 | actually keying her out as well.
| | 04:23 | So I just wanted to key out a little
bit of the edges, but not too, too much.
| | 04:29 | Now if you find that the exposure and
your image changes slightly as you move
| | 04:34 | down the timeline, you can add more
keys just by making sure the Keyer is
| | 04:39 | selected, click on Sample
Color, and then click and drag.
| | 04:43 | See, when I do this, now notice I have
jumped to sample, see I've two different
| | 04:49 | samples because I sampled on one frame
here at 03:15 and I sampled on another
| | 04:55 | frame here at 05:08.
| | 04:59 | So this is how you can refine your
matte as you continue adjusting things.
| | 05:03 | Now since we've keyed out the
background, you'll find as you work you want to
| | 05:08 | actually be able to view
the mask that's being created.
| | 05:12 | So, if we click on this View option
here in the center, you'll see this is the
| | 05:16 | map that's been created, and then if
you click on the right button, this will
| | 05:20 | always show you your original footage.
| | 05:23 | Now there are few more settings right
here in the top section of the Keyer that
| | 05:27 | I want to get through, and let's check them out.
| | 05:30 | This first option here for Fill Holes,
it'll be easier to see if you click
| | 05:35 | on the Matte option.
| | 05:36 | When you click Fill Holes, see what
it's doing? It's actually filling in the
| | 05:41 | areas that it sees as a hole and as
it's filling those holes, it's making the
| | 05:47 | matte more dense and it's just trying
to fix any areas where it's supposed to
| | 05:51 | actually be keyed out.
| | 05:53 | Now if we go back to our composite
image, notice as I crank this up it's
| | 05:58 | generating a harder edge for the mask
here, it's filling in some of the areas of
| | 06:03 | her hair that I don't want filled in,
and now it's not showing me the green that
| | 06:08 | used to be there, but it still giving me
these light pixels, so we'll leave Fill
| | 06:12 | Holes deselected for now.
| | 06:14 | Now the Edge Distance is kind of
interesting, because this works in conjunction
| | 06:19 | with Fill Holes. See, as I drag the Fill
Holes parameter here, the Edge Distance
| | 06:25 | allows me to specify exactly how far
from the edge I want this Fill Holes
| | 06:30 | parameter to fill in.
| | 06:32 | Now the last thing I want to cover
here in this video is Spill Level.
| | 06:37 | See, if I click on Spill Level and drag,
notice I'm starting to see the green come
| | 06:42 | back into our dancer.
Notice the background is still keyed out.
| | 06:47 | Whenever you shoot anybody on green
screen, typically what ends up happening,
| | 06:52 | there will be a little bit of a green
tint that bleeds into whatever it is.
| | 06:57 | Now with our dancer here, it was just
the edge of her skin tone and since I have
| | 07:03 | a rather rough key applied with the
manual key, notice it's given me kind of a
| | 07:08 | strange effect. But if you ever pull a
key and you notice somebody's skin tone
| | 07:12 | has done this and it's turned kind of
magenta, you might want to bring this
| | 07:17 | Spill Level down a little bit and it
should bring the natural tone back in.
| | 07:21 | Now there are many more options
within the Keyer, but we will jump to those
| | 07:26 | in the next video.
| | Collapse this transcript |
| Refining a key| 00:00 | As I'm sure most of you know, once you
pull your initial key of green screen or a
| | 00:05 | blue screen, there's plenty more work
left to be done to actually get that key
| | 00:10 | acceptable and have a finished polished project.
| | 00:13 | So if we look at our project here,
you'll notice we have our QuickTime file,
| | 00:17 | which, let's play it back.
| | 00:19 | You can see it's a dancer here, and she
was shot on green screen, and there is a
| | 00:24 | key filter applied to it.
| | 00:26 | Let's select the filter and look in the
Inspector and you can see it's the Keyer.
| | 00:31 | And the Keyer is kind of interesting in
that it automatically analyzes the image
| | 00:36 | and determines exactly what color to key out.
| | 00:38 | Now if we look at the original image by
clicking on the right thumbnail in the
| | 00:42 | View section, you'll notice, yes, it
is a green-screen shot, and the default
| | 00:47 | setting for this filter did
automatically key out the green.
| | 00:50 | Now, as you can see with our hair here,
there are some white pixels around the
| | 00:54 | edge, and a lot of times as I'm making
adjustments to a key, yes, I like to keep
| | 00:59 | motion moving in real time, but also
sometimes I like to actually park on a
| | 01:04 | frame where I can see some specific
issues, so as I make adjustments, we'll see
| | 01:09 | exactly what's happening.
| | 01:11 | Now, if you're joining me from the
last video, Fill Holes, Edge Distance, and
| | 01:15 | Spill Level might be familiar,
but let me just recap really quick.
| | 01:18 | The Fill Holes starts filling in the
tiny holes of a key to try and fix any
| | 01:26 | areas that may have accidentally
been keyed out that shouldn't have been.
| | 01:30 | Now, this image I think looks pretty good
the way it is, so I am going to leave it alone.
| | 01:34 | Now, Edge Distance just determines how
close to the edge this Fill Holes command
| | 01:39 | will actually fill in.
| | 01:41 | Now, the one I want you to pay
attention to here is Spill Level.
| | 01:43 | If I drag this back to the left here,
you'll notice there's a fair amount of
| | 01:48 | green that's already in this image.
| | 01:50 | Now, this happens pretty naturally
when you shoot green screen; especially if
| | 01:54 | somebody is standing a little too
close to the background of the green screen,
| | 01:57 | you'll get a lot of
reflection on their skin tones.
| | 02:01 | Now thankfully, this was shot really well,
so we have minor, minor things to deal with.
| | 02:06 | What you want to do is drag this Spill
Level up and to the right until it gets
| | 02:10 | rid of the green, but you don't want it
to unnecessarily start pulling anything
| | 02:13 | else out from the image.
| | 02:15 | Invert just literally inverts the key
that we have, so it's now keying out her
| | 02:21 | actual body as opposed to the background.
| | 02:24 | Now let's look in the Advanced section.
| | 02:27 | If you open the disclosure
triangle, there are two main sections:
| | 02:30 | Scrub Boxes and Manual.
| | 02:33 | And typically when you work in the
Advanced area, you want to start with making
| | 02:38 | adjustments to your Scrub Boxes, and if
you decide you want to go to the Manual
| | 02:41 | area, do so, but don't go back and
make more adjustments to the Scrub Boxes.
| | 02:46 | Now, if we look at this wheel here,
this box is showing me the main sampling of
| | 02:52 | green pixels that were used to
determine this actual initial key.
| | 02:57 | Now, if you click on one edge or the
other, you can increase the amount of area
| | 03:01 | that's actually been keyed, and notice
as I drag this, you can see right around
| | 03:06 | the edges here it's actually starting to
pull a little bit more of the image and
| | 03:11 | rolling the edges of that mat in.
| | 03:13 | It's a very, very subtle adjustment,
but basically we're increasing the amount
| | 03:17 | of variance to the left of that image.
| | 03:20 | If you decide you want a wider initial
selection, you need to go back up and use
| | 03:26 | Refine Key to manually set
the amount of selections.
| | 03:31 | Now, if you're unfamiliar with how to
do that, jump to the previous video--
| | 03:35 | I covered that pretty well in there.
| | 03:37 | Now, Manual just gives me a manual
control over the sliders for the amount of
| | 03:43 | luma that we're adjusting with the key.
| | 03:47 | In this example, I don't need to use Manual,
so let's just go back to our Scrub Boxes here.
| | 03:52 | I want you to understand Rolloff.
| | 03:54 | We have two settings:
| | 03:55 | there is the Chroma
Rolloff and the Luma Rolloff.
| | 03:58 | Now, whenever a key is pulled, it's a
combination between the actual chrominance
| | 04:03 | value, which is the color saturation of
the image itself, and then there is the
| | 04:08 | Luma Rolloff, and the luma is
the brightness of that color.
| | 04:12 | So as we're making adjustments to the
Rolloff, notice it is kind of adjusting
| | 04:18 | the edges as well as how much of
that image is being keyed, based on the
| | 04:23 | chrominance or the luminance.
| | 04:26 | So this just gives you a little bit
more finite control over exactly where the
| | 04:32 | image is getting keyed and how much of
it is getting keyed and how soft that
| | 04:36 | transition is actually happening.
| | 04:38 | See, as I adjust the Luminance Rolloff,
notice here in the Luma graph, the edge
| | 04:44 | of this curve is getting more and more sharp.
| | 04:47 | As it gets more sharp, the sharper the
transition from the key to the keyed-out
| | 04:53 | areas are going to be.
| | 04:54 | So it's going to create a
more jagged look to the mask.
| | 04:58 | So I'll just bring my Luminance
Rolloff back over here to the left.
| | 05:02 | We'll leave these values
around 25 and 29 accordingly.
| | 05:06 | Now we've covered the primary areas of
the Keyer that deal with actually pulling
| | 05:10 | the key, selecting the colors we're
going to pull, and knocking that out.
| | 05:16 | Now, the next area here is the Matte tools.
| | 05:19 | Now, the Matte tools adjust the matte
that's actually generated from the key.
| | 05:24 | But it is separate.
| | 05:26 | We're not actually adjusting any of
the parameters that have to do with the
| | 05:29 | color or its saturation.
| | 05:31 | We're literally just adjusting this matte.
| | 05:34 | So one of the most common
things to adjust is Shrink/Expand.
| | 05:38 | If I drag to the left,
it's going to shrink the mask.
| | 05:40 | If I drag to the right, it's
going to expand our selection here.
| | 05:45 | So typically you want to
have something in the middle.
| | 05:47 | If anything, probably roll it back a little bit.
| | 05:50 | When I did that, notice
I've made these harsh edges.
| | 05:53 | So you can adjust that by adjusting the
Soften command as well as the Erode command.
| | 06:00 | Now, Erode is kind of different than
softness in that it adjusts how the
| | 06:05 | transparency increases from the
solid portion of the key inward.
| | 06:12 | Usually what I like to do is use the
"if it looks good it is good" and just kind
| | 06:17 | of click and drag to adjust the
Softness and the Erode settings.
| | 06:21 | Now, it's really important as you make
these adjustments to kind of bounce back
| | 06:24 | and forth between viewing the
matte and the composite of our key.
| | 06:29 | So I'll leave my settings set like
this for now, but a lot of times what
| | 06:33 | you'll end up doing is adjusting
one thing, going and adjusting the next
| | 06:36 | thing, and then coming back.
| | 06:38 | So we will come back to the
Matte tools here in a second.
| | 06:41 | I want you to look at Spill Suppression.
| | 06:44 | This is a separate, slightly more refined
option for adjusting the Spill controls.
| | 06:50 | Notice up here we had our Spill
Levels in the top of our key section in the
| | 06:57 | Keyer, but now we have Spill Contrast here,
which helps you adjust a couple of things:
| | 07:03 | Tint, which mixes in the color values of
the original image, and the Saturation,
| | 07:11 | which is obviously how
saturated that mix is going to be.
| | 07:14 | Now, you can adjust the Contrast as
far as how much contrast there is between
| | 07:19 | the actual spilled image
and its adjusted counterpart.
| | 07:24 | So notice as I click here on the white
and adjust the Contrast, it's taking the
| | 07:30 | white areas of the spill and kind
of crushing out the green in there.
| | 07:34 | Now, I know I don't want to make any
adjustments in my Spill Contrast, so I'll
| | 07:38 | reset that back to its original settings.
| | 07:40 | A lot of times I found my most
success by adjusting the Light Wrap.
| | 07:46 | This is kind of cool. Light Wrap analyzes the
background video and mixes that in around the edges
| | 07:53 | of our keyed footage.
| | 07:55 | This works extraordinarily well if
you're actually trying to mix in the footage
| | 07:59 | over background video, as opposed to
something like this, a solid color.
| | 08:04 | So if we go to our file browser here,
we can navigate in our exercise files, in
| | 08:09 | the Media folder, under
Footage, for green screen.
| | 08:14 | Here we have some background video footage.
| | 08:16 | Now, I want to go ahead and
superimpose her on the sidewalk.
| | 08:20 | So we can drag and drop the
sidewalk video footage right above our
| | 08:24 | background red video here.
| | 08:26 | And now let's go to the Inspector, make
sure we have our Keyer selected, and in
| | 08:30 | the Filter selection go down under Light Wrap.
| | 08:34 | Now, just crank up the amount of Light Wrap
in the image and see what starts to happen.
| | 08:39 | Notice we crank this all the way up to 50.
| | 08:42 | We get a very soft look
that's moving into the scene.
| | 08:45 | But if you notice it's actually
blending in different colors and areas of the
| | 08:49 | scene back into our keyed footage.
| | 08:52 | Now, obviously this amount is a little
much, so I'll bring it down to around 16.
| | 08:56 | But we can also adjust the Intensity
as well as the Opacity of this mixture.
| | 09:03 | So you can really get a nice fine adjustment.
| | 09:06 | Notice as I drag the intensity down
to the left, I'm getting rid of some of
| | 09:12 | the issues that I had with the white
pixels around the edges of her hair and
| | 09:17 | the edges of her face.
| | 09:19 | That's because the intensity adjusts
the gamma levels to the lightened or
| | 09:24 | darkened sections of the wrapped
edge values around the foreground image.
| | 09:30 | You can even adjust the blend mode,
but for now I like how this is looking so far.
| | 09:36 | Now, remember how I said we would
jump back up to our Matte tools?
| | 09:42 | I want to do that because I'm still
getting this white halo around the hair, and
| | 09:47 | if we drag on the right side of the
image here, notice it's introducing more
| | 09:52 | white into the image,
which is not what I want to do.
| | 09:54 | So I'll leave the white area set up
and reset the black point here, and you
| | 09:59 | notice now as I do that what it's doing
is it's crushing out the black levels of
| | 10:05 | the matte that's been created.
| | 10:07 | So if we look at our matte object
here, notice as I drag this left and
| | 10:11 | right, it's kind of hard to see, but you can
see it more here along the edges of our logo.
| | 10:17 | What it's doing, it's taking anything
that's gray and making it more and more black.
| | 10:22 | Now, what this is also doing is
allowing me to kind of cut out some of those
| | 10:27 | problem areas in the edges of her hair.
| | 10:30 | And if we adjust the gray levels,
it's also going to make an adjustment.
| | 10:34 | Let's go ahead and drag that up to
the right, and here you notice now I'm
| | 10:39 | starting to get rid of some of
that white along the edge of her hair.
| | 10:44 | So now that I've adjusted the matte
and gone through all of the different
| | 10:48 | adjustments within the Advanced
options for the Keyer, the only thing that's
| | 10:53 | really left to do is actually match
back the color of the image and deal with
| | 10:58 | creating a holdout mask.
| | 11:00 | So that pretty much wraps up our
quick tour of the Advanced options for
| | 11:05 | the Keyer.
| | Collapse this transcript |
| Using masks to refine a green screen composite| 00:00 | In working with green-screen footage
you'll find that there will be plenty of
| | 00:04 | occasions where you'll need to
actually use masks to aid in the process of
| | 00:09 | cutting out your subject from its background.
| | 00:12 | Now I want you to understand there are
two different kinds of masks that you can
| | 00:16 | create to help with this process.
| | 00:19 | In this example here, you can see
we've got our subject and a beautifully lit
| | 00:25 | green-screen background and if we press
the spacebar, we can see that
| | 00:31 | it's an interview and she's talking,
but she's not jumping around the screen
| | 00:34 | or anything like that.
| | 00:36 | If you look over on the side, you
can still see part of the studio.
| | 00:40 | This is quite common. A lot of times
| | 00:42 | you may not have the time, the space, or
the budget to actually have somebody rent
| | 00:47 | a full-screen green-screen
studio, but that's perfectly fine.
| | 00:52 | As long as you can get a piece of
green that's just large enough to fit behind
| | 00:56 | your subject, you can pull a beautiful
green screen in Motion and actually use
| | 01:01 | masks to create something called a
garbage mask, which is the first out of the
| | 01:06 | two kind of masks I want you to learn about.
| | 01:08 | So first thing, let's go ahead and key
her out of the background. Select the
| | 01:13 | Video layer and go to the Library.
| | 01:15 | See in Motion when you're going to be
combining keys as well as masks, you want
| | 01:20 | to make sure to apply the Keyer and adjust the
Key settings first before you add your masks.
| | 01:26 | It's just how Motion processes
things, and it's the recommended workflow.
| | 01:30 | So I'm going to take the Keyer and
drag and drop it right onto this piece of
| | 01:34 | footage, and sure enough she
is keyed out of the background.
| | 01:37 | Now we can see all of our other footage
that's moving around, so I'm just going
| | 01:42 | to turn off the footage that we have
from the other day. And I'll leave this
| | 01:46 | background on for now, but obviously you
can see you know we could put whatever
| | 01:50 | background want in here.
| | 01:51 | Now I could go through the Key
settings and make adjustments like we've gone
| | 01:56 | through extensively in the previous
videos, but this is about masks, so let's
| | 02:00 | add a mask to this clip.
| | 02:03 | Now before we do that, I want you to
select the video layer and then come down
| | 02:08 | to your toolbar. Just to the left of
the timing window choose Rectangle Mask.
| | 02:12 | Now you could choose any of these
masks, but since she's not really moving
| | 02:16 | around, you can just use
a simple rectangle mask.
| | 02:19 | Make sure to draw a rectangle large
enough around the subject, so as she
| | 02:24 | continues to move, she's not going to
get cut off by the edge of the mask.
| | 02:28 | So when I let go here now you'll notice
the edge of that mask is cutting off the
| | 02:35 | extra piece of studio that was there.
| | 02:37 | So if we press play, you'll notice
she's moving right along, and we don't have
| | 02:43 | that extra piece of studio.
| | 02:45 | Now if I select the footage here,
you notice it disappear just because the
| | 02:49 | length of her clip was only four seconds
and the length of the entire compose
| | 02:53 | a little bit longer.
| | 02:54 | So before we move on, let me
show you what would happen
| | 02:57 | if we actually turn off the key.
See when I turn off the key, only the area that
| | 03:03 | I drew with a mask is now visible in the scene.
| | 03:07 | So even though I applied the key first,
it really doesn't matter because the
| | 03:10 | mask is cutting off a section of the
image and the key is cutting off a section
| | 03:15 | of the image and they're both
completely independent of each other.
| | 03:19 | So if I wanted to, I could actually
keyframe the position of this mask, or I
| | 03:25 | could apply this filter to another clip
that we shot with this person, but you
| | 03:32 | get the general idea.
| | 03:33 | Now that's how we create a garbage mask,
but let's turn this Video layer off by
| | 03:39 | a collapsing the layer
and turn off its visibility.
| | 03:42 | I want to turn on this next layer here.
| | 03:44 | Now you may recognize this
from the previous videos.
| | 03:47 | If we go and scrub with our playhead here,
you'll notice there's a large section
| | 03:51 | that's missing out of the key.
| | 03:54 | So if we open the disclosure
triangle for the video layer and disable the
| | 03:58 | green-screen key, you'll notice her T-shirt
did originally have a big green circle on it.
| | 04:04 | Now obviously, if you know you're going
to be shooting somebody on green screen,
| | 04:07 | you want to make sure that they don't
wear any green articles, but as everybody
| | 04:10 | knows, more often than not things
typically don't quite happen the way you are
| | 04:14 | expecting during a production, so sometimes
you'll have to "fix it in post." So let's do that.
| | 04:22 | Enable the Keyer, and now if we go down
to our Mask tools, go ahead and choose
| | 04:27 | Circle Mask and make sure we have her
video layer selected and just draw a
| | 04:33 | circle mask. And actually, I'm sorry,
I should have selected this first and then
| | 04:37 | gone down to grab the mask, but you
can see now we've got the video layer
| | 04:40 | selected and our Mask tool selected.
| | 04:42 | So if we click and drag, you'll notice,
well, the mask has cut or out, and that's
| | 04:48 | not exactly what we want to do,
so let's go to Mask settings in the Inspector
| | 04:53 | and change the blend mode from Add to
Subtract, and that's still not what we want to do.
| | 04:58 | We could try Replace and Intersect,
but really those are designed to function
| | 05:03 | when you have more than one mask on an
object and since the key isn't a mask,
| | 05:08 | these won't work either.
| | 05:09 | So what you need to do to create a
holdout mask--okay, this is the second kind
| | 05:14 | of mask that we're to be talking about--
what we need to do is actually start by
| | 05:19 | deleting this mask--
| | 05:20 | okay so we've our original video
footage--and duplicating this keyed footage.
| | 05:25 | So with it selected just press Command+D
under keyboard to duplicate that layer.
| | 05:30 | Now we can delete the key off of this
upper layer just by selecting the Keyer
| | 05:35 | filter and pressing Delete in the Layers
tab, and now we can go down and grab our
| | 05:41 | Mask tool can create a
circle mask around our logo.
| | 05:45 | I'm just going to go ahead and click and
drag to draw the circle, and now check this out.
| | 05:49 | It works perfectly, because this
video layer now is only this one circle.
| | 05:55 | See if I solo this layer by pressing
Ctrl+S, you'll notice the mask is cutting
| | 06:00 | out this one area, but since it's
over top of this other layer, if I press
| | 06:05 | Ctrl+S, you'll notice this layer has
the key on it and we have our holdout
| | 06:11 | mask on the layer above.
| | 06:12 | So obviously this is moving footage,
so if I press the spacebar to try and
| | 06:16 | play, you notice this isn't quite
working, what you need to do is animate the
| | 06:22 | mask, so if we move our playhead back to kind of
where we created the original mask, here we go,
| | 06:29 | we can animate the mask by
selecting the mask itself,
| | 06:33 | going down to our Transform tool,
and make sure we have Edit Points selected.
| | 06:38 | Now with Edit Points selected
press A on your keyboard to turn on
| | 06:41 | automatic keyframing.
| | 06:43 | Now just click on one of points to set
your first keyframe for the control points.
| | 06:48 | Notice how it automatically
created the keyframe here.
| | 06:52 | Now to be very precise, what you can
do is actually move up and down the
| | 06:56 | timeline. So I'm using my right arrow
to move down the timeline. So I'm just
| | 07:01 | going to keep clicking until I
know this mask isn't working.
| | 07:04 | So now I'll just move this
control point over and adjust the mask
| | 07:09 | accordingly. So if I use my arrow
keys to move back through, you notice now
| | 07:14 | the mask is tracking along.
| | 07:16 | This process is actually called
rotoscoping where you're going in and cutting
| | 07:20 | out a specific area of an image,
but since we're using this as a mask on the
| | 07:25 | duplicated layer, we are
rotoscoping a mask to create a holdout mask.
| | 07:31 | So when you go to create your masks
combined with keyers, just pay special
| | 07:37 | attention so you can determine whether
or not you want to create a garbage mask
| | 07:42 | or whether you want to create a holdout
mask. And by all means, if you think you're
| | 07:47 | going to be animating your masks, make
sure to pay attention to whether you have
| | 07:52 | Automatic Keyframing turned on.
| | Collapse this transcript |
| Color-correcting elements to match within a green screen composite| 00:01 | Now if you're joining me from the
previous video, you'll recognize what's going
| | 00:04 | on here, but just in case you jumped
right to this part, I want to kind of
| | 00:08 | explain what's happening.
| | 00:09 | We have a dancer who has been keyed
off of a green screen and in addition to
| | 00:17 | that, after the initial green-screen
key, notice the green in her shirt was
| | 00:22 | popping out, so we had to
create a holdout matte to do that.
| | 00:26 | So if you have interest in any of that
stuff, jump back in the chapter and watch some of
| | 00:31 | those, but we're going to continue on from here.
| | 00:34 | Now I want to just stop for
a second and explain something.
| | 00:37 | First thing, the play range is really
short because I've only done the holdout
| | 00:41 | matte just for that one little section.
But second thing, in general if you know
| | 00:46 | you're trying to match something into
the background of a scene, you want to pay
| | 00:51 | attention to a couple of things first.
| | 00:54 | First thing, that scene that you're
shooting for, you want to make sure in the
| | 00:58 | studio to try and emulate those colors
as best you can. Also if you can shoot it
| | 01:03 | with the same camera, that would be great,
but as everybody who is watching this
| | 01:07 | knows, optimum situations never ever
really seem to always happen, so you need
| | 01:12 | to be ready to be able to pull some
tricks out of your bag and see if you can
| | 01:17 | get things to be a little closer.
| | 01:19 | So if we're looking at our scene right
now, we have a pretty decent key going on,
| | 01:24 | and we have our dancer in the
foreground. It looks kind of like she is dancing on the
| | 01:28 | sidewalk, but if you look in the scene
here, you'll notice that things are kind
| | 01:33 | of soft and it's sort of
sunset-esque and she's way too saturated.
| | 01:39 | Yes, I could continue tweaking the
green-screen key and you know double check
| | 01:44 | the edges and do all kinds of other
things, but like I said, we're just color-
| | 01:47 | correcting right now, so let's select her
and to color correct, let's go the Library.
| | 01:54 | There is a filter that I use to get
things close really, really quickly and
| | 01:59 | it's kind of a fast-and-dirty trick.
If you go to Color Corrections, there is a
| | 02:04 | filter called Colorize.
| | 02:06 | Now if you just drag and drop this
right onto our dancer, first thing you'll
| | 02:10 | notice: the holdout mask. I'm just
going to turn that layer off for now.
| | 02:14 | Once we get our colors set then we can
just copy those filters to the holdout.
| | 02:18 | Now when you just apply this,
it makes it look like back in the day dancer or
| | 02:22 | whatever. I want to change this
by adjusting the Remap parameters.
| | 02:27 | Now the reason I like using this; when
you have a scene that's tinted with a
| | 02:32 | color, black usually isn't black
and white usually isn't 100% white.
| | 02:38 | I mean yes, in certain areas things
are white, but all in all there is
| | 02:41 | generally a tint to the scene.
| | 02:43 | So using Colorize allows me to pass
that tint through the different luminance
| | 02:49 | levels of the image with both black and white.
| | 02:52 | Let's grab this little eyedropper
here for black and choose an area of the
| | 02:57 | scene more down here.
| | 02:59 | I'm not going to choose the black right
here because that is pretty dark. I want
| | 03:03 | to choose some kind of black
that has a slight tint to it.
| | 03:07 | So if I come down, maybe the edge of this guy
shoe. When I click on that it's not very black.
| | 03:12 | Let me zoom in here, Command+Plus.
There we go, that's a little darker. It's kind of
| | 03:18 | tinting it brown, but that's okay.
We want to get relatively close.
| | 03:21 | Now for the white I'm going to choose
something a little more gold, so I'm
| | 03:26 | actually going to click up here in the
trees and just sort of really accentuate
| | 03:31 | what's going on here.
| | 03:33 | Now with those two things selected,
it still doesn't look anything close to what it
| | 03:38 | needs to, but if you crank the
Intensity down notice things are started to look
| | 03:43 | a bit better and if you bring the Mix
down, you'll mix in the background video
| | 03:48 | layer just a little bit.
| | 03:49 | So you can adjust the Intensity and
the Mix and now all of the sudden--let's
| | 03:55 | look at what we have--if I turn off the
correction she's all saturated and pops
| | 04:00 | out of the background, but if I turn
it back on, she's definitely more muted
| | 04:04 | into the scene. Like I said before,
I can keep going back and adjusting the key
| | 04:08 | and edge wrap and that sort of thing,
but all in all I'm getting a relatively good tint.
| | 04:14 | There is another way to help blend
things into the background, and that's taking
| | 04:19 | into account the focus.
| | 04:21 | So if we look at what's going on here,
everything is a little bit soft. Even
| | 04:26 | these leaves over here are little soft.
So I'm going to select her video layer and
| | 04:31 | go to my Library, and this
time instead of Color Correction,
| | 04:34 | let's go to Blur. And instead of just
doing a traditional Gaussian Blur,
| | 04:39 | I'm going to choose Defocus.
| | 04:40 | See, Defocus will blur her out a
little bit more like a traditional camera
| | 04:47 | would blur something out.
| | 04:48 | So of course in the Inspector we want
to go back and bring this amount down
| | 04:52 | exponentially, but if we bring it
down you'll notice now as we kind of look
| | 04:58 | at things it's looking a little more
natural and she starting to blend into the scene.
| | 05:02 | Now let's turn our holdout matte back on.
| | 05:05 | Now I'm just going to press Command+1
twice to close the browser, so I can show
| | 05:10 | you the exact filter that we are copying:
| | 05:13 | Defocus and Colorize. If you hold
down Option with both of those filter
| | 05:18 | selected and drag up, you can apply both of
those filters to the holdout mask video as well.
| | 05:25 | So now things are getting very, very close.
| | 05:29 | There's one other thing you can do to
help blend things into a background, and
| | 05:33 | this is a little-known trick that a
lot of compositing artists do, and that's
| | 05:38 | actually introducing grain back into
the scene as a hole, because that is yet
| | 05:45 | another consideration. Even if you're
shooting digitally, when you have your ISO
| | 05:49 | set at a higher level,
it introduces noise back into the image.
| | 05:54 | To stimulate that a little bit, we'll
select our main group here, and you'll
| | 06:00 | notice that group contains both
the dancer and the background.
| | 06:04 | So if we go to our Filters, we can click
and go to Stylize and choose Add Noise.
| | 06:11 | And again, much like many other things,
the default settings are not quite doing it.
| | 06:16 | So press Command+3 to open up the
Inspector and in the Filters here, let's first
| | 06:22 | change this from Color to Monochrome,
because I don't want to introduce any new
| | 06:27 | color into here. And by all means,
that's decrease the Amount, so it's
| | 06:32 | significantly less in the seeing.
| | 06:34 | Now you can choose White Noise
or Gaussian Noise or Blue Noise.
| | 06:39 | Let's choose Film Grain Gaussian Noise.
| | 06:42 | It's set to Autoanimate.
| | 06:44 | You can adjust the Mix by bringing
this up or down. It's very subtle. But let's
| | 06:49 | see what's going on. I'm going to
press F8 to show you full screen, and we'll
| | 06:56 | preview this first one second. And as
you can see, yeah, it's not quite perfect,
| | 07:03 | but it's definitely infinitely better
from where we were, and with the noise
| | 07:08 | added back into the scene
it's definitely helped things.
| | 07:11 | So just to show you the before and after,
let's open our Layers panel and open
| | 07:16 | our Dancer group and just turn off
the Colorizer and the Defocus and the Add
| | 07:23 | Noise and as you can see, relatively
quickly we have definitely made quite a
| | 07:29 | difference just by using a couple of
filters and taking a second to analyze
| | 07:34 | the scene.
| | Collapse this transcript |
|
|
10. Using Advanced Creation ToolsUnderstanding generators| 00:01 | One of the hardest things about any
type of design, whether it's motion design
| | 00:05 | or still graphic design, you still
end up starting with this kind of
| | 00:10 | intimidating blank canvas,
and sometimes it gets even worse when you are
| | 00:16 | talking about motion design, because
you have so many options, from moving
| | 00:21 | video to still images,
| | 00:24 | you can adjust timing, colors, composition.
| | 00:27 | You can sync things to audio.
| | 00:29 | You get the general idea.
| | 00:30 | Now one of the things that generators are
actually great for is giving you a starting point.
| | 00:35 | So to show you some of the generators,
go to the Library section. And again, much
| | 00:41 | like filters, you'll see
there are two different sections.
| | 00:44 | There are Generators which have a
color bar icon and an Image Units which
| | 00:48 | have the color bar icon.
| | 00:50 | They're both Generators;
| | 00:52 | it's just the Image Unit ones are
built off of the core animation technology
| | 00:57 | built into Mac OS X. Okay.
| | 01:00 | So let's go to Generators here, and I'll
just show you some of the basic things
| | 01:05 | that you can create with a generator.
| | 01:07 | One of the most basic things
out there is a color solid.
| | 01:11 | Rather than having to go to Shape
tool and zooming out in your canvas and
| | 01:17 | trying to click perfectly right on the edge to
create a shape that matches the size of the comp,
| | 01:22 | if you just choose Color
Solid and click Apply, boom,
| | 01:25 | you've just created a solid layer
that, if you go to the Inspector, you'll
| | 01:29 | notice matches perfectly
the size of the composition.
| | 01:33 | Now by all means, we can adjust the
scale of that solid, and we can keyframe that
| | 01:39 | adjustment, and we can even adjust the
color and keyframe the adjustments of the
| | 01:44 | color. But as you see here a
generator just creates a graphic.
| | 01:50 | Now, Color Solid is
probably the most basic generator.
| | 01:55 | If we go back to our Library here,
another one that's very common is Gradient.
| | 02:00 | It's just like the solid except
you also have grading controls.
| | 02:04 | Now, I'm not going to show you that,
because that's kind of boring based on some
| | 02:08 | of the other things that we could create.
| | 02:11 | If you look at Cellular, this is probably
one of my favorite generators out there.
| | 02:15 | If you go ahead and click Apply,
that will add it to the scene.
| | 02:19 | Now open up your Inspector, and let's
look at some of the options. And it looks
| | 02:24 | kind of boring so far.
| | 02:25 | All we have are the Height, Width,
Aspect Ratio, the Size, but we do have a
| | 02:30 | Speed option and there is an
option for adjusting the gradient.
| | 02:34 | Well, press Shift+Z so we can see things
a little better here, and let's hide our
| | 02:40 | Layers panel by pressing F5 and press
the spacebar so we can see our animation.
| | 02:46 | Now it looks a little boring just
because of these little marching ants, but we
| | 02:52 | can definitely stylize list
by adjusting the gradient.
| | 02:56 | Now I am just going to choose a preset
gradient by clicking under Save Gradient,
| | 02:59 | and let's choose this Desert Sun
Gradient option. You notice it's a transition
| | 03:05 | from orange to yellow.
| | 03:07 | Now I know you are thinking to yourself,
| | 03:09 | well, how am I going to use this
and what is this going to do for me?
| | 03:13 | Yeah, you can layer it in and adjust
the blend modes to try and mix it into the
| | 03:17 | background, but really you can get
some pretty interesting effects with a
| | 03:22 | generator if you just sort of play with it a bit.
| | 03:25 | So to do that let's adjust the width of
this by clicking in the Width slider and
| | 03:31 | dragging it down to around 45 points.
| | 03:35 | Now since we've adjusted the width of
the Generator, I am going to go back to the
| | 03:39 | Properties for this layer as a whole,
And under Scale I'm going to just X Scale
| | 03:46 | out just by clicking and dragging.
| | 03:48 | Now, all of a sudden you notice
this is taking on a slightly different
| | 03:53 | look, don't you think?
| | 03:54 | If I press the spacebar here, now you
will notice I am getting this kind of cool
| | 03:59 | flowing effect, and this was created out
of nothing, just by using a generator.
| | 04:06 | So I am going to stop playback for
second to jump back to the Library.
| | 04:08 | I want you to look at some of the
other options that are in here, and you can
| | 04:14 | see that you can create all
different kinds of effects just by choosing
| | 04:19 | different generators.
| | 04:20 | Personally, one of my
favorites is this Concentric Shape one,
| | 04:23 | if you click Apply here.
| | 04:25 | If we go to the Inspector, you notice
we have a lot of different controls here
| | 04:30 | and all of these are fully
animatable with keyframes.
| | 04:33 | So if I want to send somebody into
a trance or create kind of a funky
| | 04:38 | Batman-style transition, I could
just keyframe the animation of this
| | 04:43 | specific generator.
| | 04:45 | But as you can see, when it comes to
creating graphics out of nothing generators
| | 04:50 | are always a good place to start.
| | Collapse this transcript |
| Applying text generators| 00:00 | Now there are a number of great
generators that are perfect for creating
| | 00:04 | stylized, ready-to-go motion graphics,
and a lot of those just create graphics,
| | 00:11 | but a couple of those actually create
things you can actually edit with, and what
| | 00:16 | I am talking about are the text generators.
| | 00:19 | So in this graphic that we are
building here, we are just making reference to
| | 00:24 | how long dancers have to
typically work in the studio,
| | 00:28 | and to show that we are going to
represent different methods of time, and we will
| | 00:32 | easily animate those using the text generators.
| | 00:35 | So if you jump to the Library, in the
Generator section, I want you to go to the
| | 00:40 | Text Generators folder over here on the
right, and notice the icon for any text
| | 00:45 | generator has a T over top of the color bars.
| | 00:49 | Now just like any other generator,
when you select it, you'll get a
| | 00:53 | description up here.
| | 00:54 | So I just wanted to draw your attention
to the File text generator because this
| | 00:59 | is really helpful when you got text from,
I don't know, a client and you want to
| | 01:05 | integrate that on the screen
| | 01:07 | you can literally just have
Motion reference that text document.
| | 01:12 | But the three we are going to focus on
right now are Numbers, Date and Time, and
| | 01:16 | Timecode, because all of these can be
easily used in just about anybody's
| | 01:21 | day-to-day productions.
| | 01:23 | Now in order to apply Numbers, let's
just drag and drop the generator right up
| | 01:28 | here in the top of my text group, okay.
| | 01:33 | Now I'd like this number to be
significantly larger, so after we drag that in,
| | 01:37 | let's go ahead and increase the scale.
| | 01:41 | And notice I accidentally clicked on
the rotation there, so I will click on the
| | 01:45 | other corner, making sure to hold down
Shift as I scale this up, and I can bring
| | 01:50 | this back down here.
| | 01:52 | Now one of the interesting things, my playhead
was parked right at the end of my composition,
| | 01:57 | so when I drop the time in, it
actually had the largest number.
| | 02:00 | If we move our playhead back to
the beginning, check this out:
| | 02:04 | it actually does one number per frame.
| | 02:07 | So already it's animated, and we
haven't even had to make any adjustments.
| | 02:12 | Let's just stop playback for a second.
| | 02:14 | If you notice here, we can actually
specify what number to start with and
| | 02:19 | what number to end with.
| | 02:21 | You can create different options,
like decimal points or a minimum number of digits.
| | 02:26 | So let's say we want to
have a minimum of three digits.
| | 02:30 | This way it starts from 001. Okay.
| | 02:34 | You can obviously change
Random and adjust the Hold Frames.
| | 02:39 | So you can have a hold on
specific frames. All right!
| | 02:44 | So that's the Numbers
generator, pretty straightforward.
| | 02:48 | Now you can adjust this for Currency,
Percent. Scientific is kind of interesting.
| | 02:55 | It gives you scientific notation.
| | 02:57 | You can have it spell out the numbers.
| | 03:00 | This is really cool, 1, 2, 3, 4, 5.
| | 03:01 | For all you type people out there,
that's really kind of a fun one.
| | 03:06 | You get the general idea.
| | 03:08 | The Numbers generator is a lot
deeper than it appears at the surface.
| | 03:13 | So I'll just delete that generator for
right now, and let's jump back to the Library.
| | 03:20 | Date and Time is pretty straightforward as well.
| | 03:22 | If we just drag that up into our layers
here, you'll notice I have full options
| | 03:28 | to make adjustments to the date and time.
| | 03:31 | Now I can check Animate and it will
actually start animating through the time.
| | 03:37 | This is a great way to actually denote
the passage of time if you're doing like
| | 03:42 | a documentary or something else like that.
| | 03:44 | You obviously have the same level of
control that you had with the previous text
| | 03:49 | generator ,where you can specify very
important things like hours, days, months.
| | 03:55 | You get the general idea.
| | 03:56 | You can have a countdown
through a myriad of different formats.
| | 04:00 | You can even adjust the language.
| | 04:03 | Now, that all depends if you have the
Language pack installed, but you know
| | 04:07 | that's usually installed by default.
| | 04:09 | So that's the Date and Time generator.
The last one I want to show you, which is
| | 04:14 | kind of important, is this Timecode generator.
| | 04:17 | See, when you add this to your
composition this can actually allow you to create
| | 04:22 | a burning for your projects.
Imagine that, a burning.
| | 04:25 | Now, as I drag through the comp,
you notice it's defaulting to 0, 4, 0, et cetera, et cetera.
| | 04:33 | Now if you go to the Project Properties
in your composition, you notice that you
| | 04:39 | can actually specify a
start timecode for the comp.
| | 04:44 | So let's say I know this piece of
footage was shot on a tape that started at 5.
| | 04:50 | Well, notice when I adjust the
Start Timecode here, it actually adjusts
| | 04:57 | the generator there.
| | 04:59 | So this is a great, very easy, fast way of
adding timecode window burn back into your footage.
| | 05:06 | Just drag it and drop it right onto
the footage and as long as you have the
| | 05:10 | start time for your project setup
properly, your timecode will match perfectly well.
| | 05:16 | Now you can adjust how much of the timecode
you want to display, as well as the timecode base.
| | 05:25 | So obviously, by default it sets up the
current project, but you could choose whatever.
| | 05:30 | So as you can see, when it comes to
creating type using text generators, they are
| | 05:37 | actually a lot more advanced
then they appear on the surface.
| | Collapse this transcript |
| Creating particle systems| 00:00 | With Motion's real-time playback engine,
creating particle systems can actually
| | 00:04 | be a really fun experience.
| | 00:07 | So if you're unfamiliar with particle
systems, let's go ahead and build one so
| | 00:11 | you can understand what I'm talking about.
| | 00:13 | Now open the Layers panel if it's not
already open, and I want you to look at
| | 00:19 | this background, I just input a still
as reference for our particle system.
| | 00:25 | See, most of time as you build
particle systems it can be rather processor
| | 00:29 | intensive. A lot of times I'll
just export a still referenced for my
| | 00:34 | background, so I can make sure that
colors and everything are matching, and
| | 00:37 | then I can import my animated Motion
particles into my finish animated comp
| | 00:44 | once I have things set up.
| | 00:46 | To get started with our system,
let's select our background layer, lock it off,
| | 00:51 | and just create a new layer
that we can put our particles in.
| | 00:55 | Now if you go to the Library, under
Particle Emitters you can see there are all
| | 01:00 | kinds of presets, so just see you
get a feel for what we can create with
| | 01:06 | particle systems, check this out.
| | 01:08 | You can create really nice flowing
complex graphics by using particle systems,
| | 01:15 | and a lot of times I like to use
things that add depth to my scene.
| | 01:19 | So if we look at our reference
background image, you can see that I've got
| | 01:25 | something that has kind of playful
colors, even though they are muted back a
| | 01:28 | little bit, but it is still kind of
flat, even though I do have some shading on
| | 01:33 | the circles and stuff.
| | 01:35 | In order to add depth, I'm going to
add a kind of playful particle system.
| | 01:40 | So rather than using one of these
presets, we'll go ahead and start from scratch.
| | 01:47 | Now if you go in the Library down to
this folder, third from the bottom, content,
| | 01:54 | you may notice in the subfolders here
there is an option for Particle Images.
| | 02:00 | In here these are little PNG files
that you can use to actually create your
| | 02:05 | particle animations.
| | 02:07 | So if we look at these different files,
you can see they all look slightly
| | 02:12 | differently, and they're really small, see,
87x101. And these are ping files, so they
| | 02:18 | are way less than a megabyte.
| | 02:20 | Now I want to create something that
looks kind of like sparks, so I'm going to
| | 02:24 | scroll down here and see if I can find
anything. And rather than making you wait
| | 02:29 | as I scroll, let's just click on the
search field and start typing spark. Okay great.
| | 02:36 | So I can click through here and check
out all the different sparks that are
| | 02:39 | available, but I know the one
that I'm looking for is Spark11.
| | 02:44 | So let's just add this to the scene
by dragging and dropping it right up
| | 02:47 | into our group layer.
| | 02:49 | Now since this is rather tiny,
it's sort of hard to see when we have the
| | 02:54 | layer selected, so let's just deselect the
layer, and there you can see how it's appearing.
| | 03:01 | Now as I'm looking at this--let's zoom
in here--as I'm looking, I can see there is
| | 03:05 | kind of a dark halo around this, so I
just want to check the media settings.
| | 03:10 | If you right-click on your particle
image and go to Reveal Source Media, under
| | 03:16 | Media over here you can look at the
Alpha Type and this is set to Straight, but
| | 03:22 | I can see kind of these black edges,
so what I want to do is look at
| | 03:26 | pre-multiplied black and boom, sure
enough, you can see, there is the nice bright
| | 03:31 | image that I was looking for.
| | 03:33 | So sometimes even though an items in
the Library, you may need to go ahead and
| | 03:39 | change how its alpha channel is interpreted.
| | 03:42 | Now to actually create a particle
system from any graphic element, what you
| | 03:47 | have to do is select that element--and
I'm just going to press Shift+Z to resize
| | 03:51 | my canvas so you can see what's going on
here. But with the elements selected, if
| | 03:55 | you come down to the lower-right side of
your toolbar, there is a Particle Emitter button.
| | 04:01 | It's the second one from the right.
| | 04:03 | If you go ahead and click that, you'll
notice not many changes. That's just because
| | 04:08 | the playhead's right here
at the start of our comp.
| | 04:11 | Now most of the time when I create
particle systems I let Motion play back in
| | 04:16 | real time, but do to how we're
recording this I may start and stop a fair
| | 04:20 | amount. So I encourage you to
get working by leaving Motion playing
| | 04:25 | back as you're making our adjustments.
| | 04:28 | So let's get started by pressing the
spacebar, just so we can see what's going on.
| | 04:32 | Now I see pretty easily that this is
creating this explosion of little sparkles.
| | 04:38 | Now I am just going to stop playback
back here, so I have a fair amount of the
| | 04:42 | particles on the scene.
| | 04:43 | Now most of the time when you adjust
particles you want to get started by making
| | 04:48 | your adjustments in the HUD.
| | 04:50 | See in here I can adjust the Birth
Rate, which is how many particles come
| | 04:55 | out every second, or I can
adjust the Life, which is how long each
| | 04:59 | individual particle lives.
| | 05:01 | We can adjust Scale, okay, these are
the overall scale of the particles.
| | 05:06 | So let's actually bring this down quite
a bit because I just want nice little
| | 05:10 | tiny sparkles moving throughout my scene.
| | 05:13 | Now Emission Range, if you click and
drag, notice now I'm getting some adjustment
| | 05:19 | in the graphic here of the HUD.
| | 05:22 | If I just drag the edge of this, I can
control how this is actually going to be
| | 05:27 | emitted from that point.
| | 05:30 | Now there are plenty more
particle system controls.
| | 05:33 | If you click on I button,
that'll go ahead and open the Inspector.
| | 05:37 | You can see there are a bunch of
other settings for adjusting your particle
| | 05:41 | systems, but this movie was about
creating them and as you can see, we've already
| | 05:46 | created our first particle system.
| | Collapse this transcript |
| Making adjustments to a particle system| 00:01 | Creating a particle
system is just the first step.
| | 00:04 | It's really the adjustment of the
particle system that'll give you that nice
| | 00:08 | fine-tuned animation.
| | 00:10 | So if you look at our project here,
we have a particle emitter--that's this icon right
| | 00:15 | here--and then underneath we
have what's called a particle cell.
| | 00:19 | Now, an emitter can have multiple
particle cells within the emitter itself,
| | 00:25 | but I'm just going to start
with this one particle for now.
| | 00:29 | As we make adjustments to the emitter,
it will change how these particles appear
| | 00:33 | in the scene, quite drastically.
| | 00:35 | So typically, once I create an
initial particle system, the first thing I
| | 00:40 | adjust is its shape.
| | 00:42 | So you can emit particles from points, lines,
rectangles, circles. Burst is kind of cool.
| | 00:50 | It creates--here, let me drag back to the
beginning here, so you can see--it's got
| | 00:55 | three arms that kind of pop out of it.
| | 00:57 | If you want to actually see what an
emitter looks like, you need to use
| | 01:01 | the Adjust Item tool.
| | 01:03 | So click and hold on your Transform
tool, go to Adjust Item, and this will
| | 01:07 | actually show you the emitter that you
are adjusting as we go ahead and kind of
| | 01:12 | click through the different things.
| | 01:14 | Now, if you had your own custom Bezier
curve that you wanted to use, you could
| | 01:19 | use Geometry, or you could
actually emit particles from an image.
| | 01:24 | Now, for this example,
I want to just choose a line.
| | 01:27 | Since I'd already have the Adjust Item
tool selected, I can just click on the
| | 01:31 | different end points and drag them
visually right here in my Canvas.
| | 01:37 | Now, I wanted to have this line move kind
of straight through the center of the scene.
| | 01:40 | Let me move it down, so it's kind of going
straight through the center of our circles.
| | 01:45 | And if you really need fine-tuning for
where these points are, under the Emitter
| | 01:49 | options, notice once we switch to Line,
there is a place where you can actually
| | 01:54 | type in the Start Point and End
Point, X, Y values for the emitter.
| | 01:59 | Now, I'm not going to jump
into 3D emitters just yet.
| | 02:02 | We'll get to that in the 3D chapter.
| | 02:04 | What we do want to pay attention to is
the Emission Angle and the Emission Range.
| | 02:09 | Now, in the Inspector you can choose
to make the adjustments to this just by
| | 02:13 | clicking and dragging or use the HUD.
| | 02:16 | If you press F7, the HUD, you'll get
a graphic interface that allows you to
| | 02:21 | kind of create the direction visually.
| | 02:25 | So as I click through here, I'm looking
at this, and let's preview the animation.
| | 02:31 | Okay, that's definitely a little bit
more like what I was thinking about.
| | 02:33 | Let me stop playback here for a second.
| | 02:36 | Like I said in the previous video, the
way I'm recording this, I may start and
| | 02:39 | stop the animation, but I really
encourage you to continue leaving the particles
| | 02:44 | playing back as you're making the
adjustments, because you will be able to tweak
| | 02:47 | your animation that much faster.
| | 02:49 | Now, instead of adjusting the Birth
Rate down, I'm actually going to adjust the
| | 02:54 | Life down here a little bit because I
don't want the particles to live too long
| | 02:59 | as they go shooting off the screen.
| | 03:01 | One of the things you can also adjust,
we've seen Birth Rate and Life, but you
| | 03:06 | can also adjust the randomness,
so it's not a constant emission of particles.
| | 03:11 | Now, just so we can see this more clearly,
I am going to crank up the Birth Rate
| | 03:15 | here just a little bit,
and let's look at the Speed option.
| | 03:20 | If we bring the Speed down, now
notice we're getting that sort of tight
| | 03:24 | cluster of emissions.
| | 03:26 | This is definitely what I was looking for,
both visually and in terms of the motion.
| | 03:31 | I don't like how consistent this is,
| | 03:33 | so I will adjust the Speed Randomness.
| | 03:36 | That's going to break things up a
little bit and give me slow particles
| | 03:40 | and faster particles.
| | 03:42 | I kind of like how this is working,
but I would like to sort of tweak it just a
| | 03:47 | little more, but we'll
get to that in a little bit.
| | 03:49 | Let's look at some of the other options.
| | 03:52 | There's Speed, Speed
Randomness. Angle is kind of fun.
| | 03:56 | You can actually adjust
the angle of the particles.
| | 03:59 | Now, since these are so small,
you're not going to notice that too much.
| | 04:03 | But if I adjusted the Spin, it would
make each individual particle spin. And you
| | 04:07 | get it, with the Randomness you
can make adjustments accordingly.
| | 04:11 | Now, Color Mode and Opacity, this is
going to function just like adjusting the
| | 04:17 | gradients in a gradient shape.
| | 04:20 | So let's choose a Color Mode for Over Life.
| | 04:23 | This is kind of cool because it'll
allow you to adjust how the particles change
| | 04:28 | colors over its life.
| | 04:31 | So notice once I change that, if we
open up the Color Over Life option, here is
| | 04:36 | that familiar Gradient Adjustment tool.
| | 04:39 | So let's say I want these to be born a
vibrant yellow, and as it dies off, I
| | 04:44 | want it to die off to a more purply color.
| | 04:47 | Let me go back and just adjust this
yellow a little bit more so it's not so dark.
| | 04:52 | There we go!
| | 04:54 | If we check our playback here, you
can actually see what's going on.
| | 04:59 | Now, this is sort of working,
but sometimes it makes sense to actually
| | 05:04 | start with a preset.
| | 05:06 | Let's actually delete this.
| | 05:08 | I'm just going to select both the
particle emitter and its particle cell and
| | 05:13 | the source particle itself and press Delete.
| | 05:15 | What I want to do is go to the
Library and use one of the presets.
| | 05:20 | So let's go to Particle Emitters,
and in here under Sparkles, the one that we
| | 05:26 | want to use is down here: Weightless Spark.
| | 05:30 | See how these are flowing out kind of
slowly, and I'm getting this really neat
| | 05:34 | sort of flow to the particles?
| | 05:36 | I want to use that for this line.
| | 05:40 | Let's choose Weightless Spark and just
drag it right up into our Group right
| | 05:45 | here, above our background layer.
| | 05:47 | I'm immediately seeing something in the
scene because my playhead is here at the end.
| | 05:51 | If we move back to the beginning,
notice you wouldn't see anything.
| | 05:54 | So down here at the end I want
to change the emitter itself.
| | 05:58 | I'm pretty sure we already know how to do that,
because I showed you this just a few minutes ago.
| | 06:03 | In the Inspector, under the
Emitter, change the Shape to Line.
| | 06:07 | Once it's changed to Line, you guessed it,
we have to go choose the Adjust Item
| | 06:12 | tool. Bring that right back here
across the Line, and I'll click on the other
| | 06:17 | point and bring it back over to the right.
| | 06:20 | Okay, so it's starting to
look a little bit better.
| | 06:22 | We can definitely change the Emission
Angle as well as the Range, just so
| | 06:29 | it kind of emits from a larger range and
I get things spaced out a little bit more.
| | 06:35 | By all means, you can go through
and continue to make adjustments.
| | 06:40 | But this is pretty darn
close to what I was looking for.
| | 06:42 | One last thing I'm going to tell
you about adjusting particle systems:
| | 06:47 | definitely use the presets in the
Library, because you'll want to look at
| | 06:51 | what they've actually done to build
those particle systems. Because if you
| | 06:55 | notice when we select the particle cell here,
there are actually three behaviors applied.
| | 07:01 | So I'm just going to hide my File
Browser and Library for now just by pressing
| | 07:05 | Command+1 twice, and check it out.
| | 07:08 | You can see there's a Random Motion behavior,
Gravity applied, and even Scale Over Life.
| | 07:14 | These have a great effect on
creating this more flowing particle build.
| | 07:20 | Once again, I encourage you to go to
the Library and start with the presets.
| | 07:25 | When you get comfortable adjusting the
presets then go back and start creating
| | 07:30 | your own particle systems.
| | Collapse this transcript |
| Using particle behaviors| 00:00 | Now if you're joining me from the last
video, you may recognize this particle system.
| | 00:04 | I just went ahead and deleted the
particle behaviors that were applied so I
| | 00:09 | could kind of take you through the thought
process of adding behaviors to particle systems.
| | 00:15 | So, press the spacebar and
let's watch our animation here.
| | 00:20 | And as you can see, we've got a
pretty basic particle system that's
| | 00:24 | happening, but we can make this animation a
lot more interesting by applying some behaviors.
| | 00:31 | So I'm just going to stop playback for
a second and position my playhead down
| | 00:34 | here towards the end.
| | 00:35 | Now if you haven't heard me say it
before, I encourage you to always make your
| | 00:39 | adjustments to particle systems in
real time, meaning let Motion play back.
| | 00:44 | But I like said earlier, based on
how I'm recording this, I'm going to be
| | 00:48 | starting and stopping, just so you can
kind of see things in a little bit more detail.
| | 00:52 | So with the particle cell
selected, let's go to our Library.
| | 00:58 | And if you go to Behaviors, I want
you to go to the Particles subset.
| | 01:02 | And you notice there are two behaviors
specifically designed to work with particles.
| | 01:07 | First one, Scale Over Life.
| | 01:09 | It's actually kind of important
when you're creating a particle system.
| | 01:13 | If you want it to create a more
natural-looking animation, you might want to
| | 01:18 | choose Scale Over Life.
| | 01:20 | Spin Over Life is kind of fun.
| | 01:22 | It adjusts the rotation as it spins away.
| | 01:25 | So you can see it's created
this kind of cool funky animation.
| | 01:29 | Now since these particles are rather tiny,
I'm just going to use Scale Over Life.
| | 01:34 | So to apply it, just drag and
drop it right to the particle cell.
| | 01:38 | And now you notice I can barely see
anything, so let's jump over to the
| | 01:42 | Inspector and see what we're dealing with.
| | 01:44 | Well, first off, we have a
Scale At Birth and a Scale At Death.
| | 01:48 | Well, this is kind of overriding
what's going on with the particle cell here,
| | 01:55 | which is set to 300% Scale.
| | 01:57 | So let's go back to our behavior here,
and let's adjust its Scale At Death up to around 400.
| | 02:04 | And now we can adjust Scale At
Birth up here a little bit as well.
| | 02:09 | So now if I scrub through, you can see
as the particles get older, they actually
| | 02:14 | expand and disappear.
| | 02:16 | This is giving a really
neat flow to the animation.
| | 02:19 | Let's watch it back in real time so you
can kind of see what I'm talking about.
| | 02:23 | It's subtle, but it just creates that
softness that echoes the gradients in the background.
| | 02:28 | I'm going to stop playback again for
one second, and let's add a little bit more
| | 02:33 | randomness to the motion.
| | 02:35 | Now, if you remember, when I had the
particle cell selected in the Library, there
| | 02:40 | were only two options for particles.
| | 02:43 | Well, that's when simulations jump in.
| | 02:46 | In here, you can simulate
all kinds of different things.
| | 02:49 | So first thing I want to do
is create some random motion.
| | 02:53 | If you go ahead and apply that by
clicking Apply, the Random Motion will be
| | 02:58 | applied to this cell, which is just this
one particle, and that will be in turn
| | 03:03 | replicated and shot out
through the particle emitter.
| | 03:07 | So now if we jump over to the Inspector,
we should look at the Amount of Random
| | 03:12 | Motion and the Frequency and the Noisiness.
| | 03:16 | Now it is moving on X and Y axes, so if
we go ahead and press Play, you should
| | 03:22 | notice a slight movement on the X and
the Y. Now it's really subtle, but if you
| | 03:27 | look at the edge of this purple circle
here, you can see it just kind of adds a
| | 03:32 | neat little wobble to the particle systems.
| | 03:34 | See, if I crank up that Amount,
here you'll see it even more.
| | 03:39 | It's just kind of making things wobble around.
| | 03:41 | Now I'm going to stop playback here for
a second and bring that Amount back down.
| | 03:46 | So even though this is a tiny amount,
just this subtle adjustment will create a
| | 03:53 | slightly more polished look to your animation.
| | 03:56 | Now as I'm looking at this, I still
don't have the density that I was hoping as
| | 04:01 | far as how the particles are on this line,
| | 04:04 | so to create that, I'm going to
actually use another simulation behavior.
| | 04:08 | We'll stop playback here for a second.
| | 04:10 | In the Library, under
Simulations, let's add some Gravity.
| | 04:15 | If we go ahead and apply Gravity to
the particle system, now you notice it's
| | 04:20 | actually pulling these
particles down in the animation.
| | 04:24 | And it's really cool
| | 04:25 | if you want to create a kind of a
waterfall effect, you can definitely apply
| | 04:29 | Gravity to your particles.
| | 04:31 | And imagine what happens when you
keyframe this behavior. But really in the
| | 04:35 | Inspector, I just want to
tweak this a little bit.
| | 04:38 | Instead of having the Acceleration go
down, I'm going to click and drag on the
| | 04:43 | number and actually bring the
Acceleration back to the left.
| | 04:48 | Let's rewind our playback and check this out.
| | 04:51 | Now I'm getting kind of this cool
flowing motion that's happening, and I'm just
| | 04:56 | going to drag that adjustment
back down here a little bit.
| | 04:59 | And now you can see I've got slightly more
particles on the top than I do on the bottom,
| | 05:04 | but it is definitely creating
a funky look to my animation.
| | 05:09 | So anytime you want to create a
particle system that has a little bit more
| | 05:12 | natural look and flow, you should
definitely check out adding some behaviors.
| | Collapse this transcript |
| Creating paint strokes| 00:00 | The easiest way to think about the
Motion Paint engine is to look at it as kind
| | 00:05 | of a hybrid between a
particle system and a replicator.
| | 00:10 | Now if you haven't used either of those
tools then I guess you could think about
| | 00:14 | it as kind of a more
natural way of creating animation.
| | 00:19 | It's sort of like drawing a pen on a
piece of paper; the only difference is the
| | 00:24 | paper is your project and
the pen is the Paint tool.
| | 00:28 | So instead of me sitting here trying to
verbalize it, let's go ahead and build some paint.
| | 00:33 | Now we can create paint in a number of ways.
| | 00:36 | The first way is to just
use the Paint Stroke tool.
| | 00:40 | So if we grab the paintbrush, making sure our
playhead is at the beginning of the Timeline,
| | 00:46 | let's select our layer in the Layers
panel that we'd like to paint on. And I
| | 00:50 | just want to create a stroke of paint
that'll come in and sort of wipe over the
| | 00:56 | type and then down through the scene,
and we can use this as a transitional
| | 01:01 | element or whatever. But I
want it to start off screen,
| | 01:05 | so I'm going to press Command+Minus,
and again make sure that you have the brush
| | 01:11 | selected. And now I'll just click and drag
and draw right over and down. And there we go;
| | 01:17 | I've created my first paint stroke.
| | 01:20 | If you press the spacebar,
notice nothing is really happening.
| | 01:25 | That's because there is no animation
tied to this just straight out of the box;
| | 01:30 | it just sort of recorded what I drew.
| | 01:32 | Now there are different ways of
interpreting this and creating animation, which
| | 01:38 | we can get to through the Inspector.
| | 01:40 | So in the Inspector, under Shape, you
want to look at the Style and if you move
| | 01:47 | down, you can check out, we have Outline
selected, and here we have a solid color of white.
| | 01:53 | Now we can adjust things like
the overall opacity of the line.
| | 01:58 | We can adjust the width. You can set
Preserve Width which doesn't matter for the
| | 02:05 | style that we've created right here,
| | 02:06 | so let's move down and look at First
Point Offset and Last Point Offset.
| | 02:13 | So these are the parameters that you can
adjust to actually create your animation.
| | 02:19 | Now, if we look at the Geometry
section over here, notice that the edge of
| | 02:25 | this is kind of jagged.
| | 02:28 | Well, if we go to adjust the
roundness, we can smooth that out.
| | 02:33 | So see, it takes out all that stuff
that it recorded in the initial stroke.
| | 02:38 | I could choose Closed and it would
actually close the path back around, but yeah,
| | 02:44 | let's just increase the
roundness there a little bit.
| | 02:47 | Down here you can actually see the
number of points that were used to
| | 02:51 | create that brushstroke.
| | 02:52 | See, paint strokes are nothing
more than Bezier paths just covered
| | 02:57 | with geometric shapes.
| | 02:59 | So to see that, I'm going to click
right here on my Transform tool and
| | 03:03 | actually choose Adjust Item.
| | 03:05 | See, now in here you can see the
Bezier path that was created.
| | 03:10 | Now, I am still not seeing all the
control points, but you get the general idea.
| | 03:14 | If we go to Edit Points here, that way you
can see every single point that's in there.
| | 03:20 | Now I don't want to go back and
re-record this, but I do want to create a
| | 03:25 | completely different look for this stroke.
| | 03:28 | So to do that let's change the
Brush Type from Solid to Airbrush.
| | 03:33 | Now with Airbrush you have a
couple of different options.
| | 03:36 | You can actually adjust the Opacity,
but you can adjust the Brush Profile,
| | 03:42 | which if you notice now I've got a little
bit more of a soft edge. Let me zoom in here.
| | 03:47 | We could adjust the Profile.
If we adjust the Width here,
| | 03:51 | yes, it definitely adjusts the width.
| | 03:54 | But the most important setting
with the Airbrush is this spacing.
| | 03:58 | See, as I adjust the spacing, you can
see it's just little dabs of a shape that
| | 04:04 | actually create this initial paint stroke.
| | 04:07 | Now again we still have the
same option with the offset.
| | 04:10 | So as you can see, this is kind of a
neat easy way if you want to create kind of
| | 04:14 | that Vegas-looking strobing light thing
going on, but the fun really begins when
| | 04:21 | you start to add images.
| | 04:23 | Now I don't have any custom images set
up to automatically load in here, but
| | 04:27 | what I do have are a
bunch of preset shape styles.
| | 04:31 | So if we click here, you notice I have a
style that I could use to create a map animation.
| | 04:37 | I have styles I could use to create measurement.
| | 04:41 | There are some more advanced styles, like Birds.
| | 04:45 | There are all kinds of more
fun, flowy effects like Light.
| | 04:50 | So definitely go through and check
out some of the different effects.
| | 04:53 | What I was honestly thinking was one of
these light effects would look really slick here.
| | 04:59 | So I am going to choose this Light Tail
01, and once I choose that, here you can
| | 05:04 | see I've got a much more dynamic brush
stroke that's moving through the scene.
| | 05:09 | So let's check that out
by pressing the spacebar.
| | 05:17 | Now you'll notice that animation
actually was applied as a part of the preset.
| | 05:24 | Now this isn't uncommon, so any time
you use a preset you want to make sure to
| | 05:29 | start playback and check things out.
| | 05:31 | Now the animation of this stroke was
actually created, if you go to the Style
| | 05:35 | section of the shape and scroll down
here at the bottom, notice there are
| | 05:39 | keyframes applied to this First
Point Offset and Last Point Offset.
| | 05:43 | But also the way this was created had
a lot to do with what's going on here
| | 05:48 | in the Advanced tab.
| | 05:49 | See, there are dynamics that
are actually applied to this.
| | 05:53 | Now since there is a speed of 0, we
are not seeing exactly what's going on.
| | 05:59 | See, these dynamics are giving this
spin to the shape of the brushstroke, but
| | 06:05 | really if you think back to when I
showed you that Airbrush, it had the little
| | 06:10 | dots, this stroke is created
by a bunch of dots as well.
| | 06:14 | Just under the Advanced setting for
Dynamics, if I adjust the Speed here, you'll
| | 06:19 | notice that it will actually behave
just like a particle system emitting from
| | 06:24 | the edge of this path.
| | 06:27 | So let me change the Speed back down to 0.
| | 06:29 | I just kind of wanted to
draw your attention to that.
| | 06:33 | So if we click through the different
channels, you'll notice with presets, there
| | 06:37 | are a ton of different options,
and when it comes to animation there are a
| | 06:42 | number of different parameters
that you can go ahead and keyframe.
| | 06:46 | So if you think you might want to
learn how to actually create animation from
| | 06:50 | scratch, follow me to the next video
because I am going to show you exactly how
| | 06:54 | to animate brushstrokes with Paint.
| | Collapse this transcript |
| Animating paint strokes| 00:01 | An animated paint stroke in Motion is
something extraordinarily powerful, because
| | 00:05 | it's kind of like a hybrid between a
moving particle system and a replicator.
| | 00:11 | So naturally, that means there are so many
options that it'll really make your head spin.
| | 00:16 | Let's check out what we have here with
this brushstroke by selecting the brush-
| | 00:20 | stroke and opening the Inspector.
| | 00:23 | Now as you can see when we begin
playback with the spacebar, we already have
| | 00:28 | some animation applied to this brushstroke.
| | 00:31 | And in the previous video, we did go
back and sort of ascertain that the
| | 00:35 | animation was created by using keyframes
for the First Point and the Last Point Offset.
| | 00:40 | But really, when you start getting
into these other channels, like Stroke and
| | 00:45 | Advanced, you'll really see all of the
different options that are available to
| | 00:51 | not only animate a brushstroke but
also just specifying exactly how it looks.
| | 00:57 | So there are a couple of
common themes to the interface.
| | 01:01 | I'm going to go ahead and expand this
disclosure triangle for Width Over Stroke.
| | 01:07 | I know you can't see the whole word there,
but that's what that says, Width Over Stoke.
| | 01:11 | You'll have this graph, and it looks
just like a typical Bezier curve line.
| | 01:16 | If you double-click on any point in the
graph, what you can do is click
| | 01:21 | and drag, and notice now in
the middle of this brushstroke--
| | 01:27 | careful, it gets really
sensitive when you start dragging--
| | 01:29 | in the middle of the brushstroke,
I've made things extraordinarily skinny.
| | 01:33 | See, as I continue to drag down, I'm
getting a direct representation of this
| | 01:39 | width of the stroke
getting adjusted accordingly.
| | 01:43 | Now if I right-click on here, I can
adjust the Interpolation from Linear to Bezier.
| | 01:50 | And then here, I'll actually have the
handles that I can adjust and really kind
| | 01:55 | of smooth things out or make it
more drastic in the adjustment.
| | 02:00 | So you'll find that repeated
throughout the interface here.
| | 02:05 | Now when it comes to actually
animating brushstrokes, you want to go over
| | 02:10 | to this area, Advanced.
| | 02:12 | See under Advanced, we have Dynamics,
and the Dynamics are really kind
| | 02:17 | of interesting because this is
where brushstrokes can take on that
| | 02:21 | particle-emitter property.
| | 02:23 | See if I crank up the Speed here, look what
happens to my brushstroke. Isn't that cool?
| | 02:29 | Basically, if we check out our animation,
you'll notice it looks sort of like a
| | 02:33 | particle system moving through the scene.
| | 02:35 | That's pretty neat.
| | 02:36 | Now we could definitely keep going
in making more adjustments through the
| | 02:41 | Dynamics here, but I think you understand,
with Dynamics enabled, you can create
| | 02:46 | more of a particle-animation
look to your brushstrokes.
| | 02:50 | Now these other options here, Pen
Pressure and Pen Speed, these you can adjust
| | 02:56 | based on input from a Wacom tablet.
| | 03:00 | Now, under Geometry, this is where you
can see all of the individual control
| | 03:05 | points that make up this line.
| | 03:07 | Most of the time when it comes to
animation, I don't mess with this too, too much.
| | 03:12 | Really, when it comes to animating
brushstrokes, I usually adjust settings
| | 03:17 | in the Advanced tab.
| | 03:18 | Occasionally, I'll keyframe settings
in the Stroke area, and under Style,
| | 03:23 | definitely keyframe the First
Point Offset and the Last Point Offset.
| | 03:28 | Now before we end things, I just want to
show you one last behavior out of the Library.
| | 03:33 | So when you have a brushstroke like this,
you can go to Behaviors and in Shape,
| | 03:39 | any of these the Shape behaviors can
be applied to this brushstroke as well.
| | 03:43 | The reason I bring this up, if you want
this stroke to appear on the screen and
| | 03:48 | sort of shake around, you can
choose behavior like Wiggle shape.
| | 03:53 | Now the one I use most
often is right here, Write On.
| | 03:58 | See, if I drag this and drop it right
onto the paint stroke, now I can control
| | 04:05 | the animation based on the Write On parameter.
| | 04:08 | Now I've got kind of a double-whammy
effect happening here because it's writing
| | 04:13 | on with the behavior and I
still have keyframes under Shape.
| | 04:18 | Under Style, I still have my keyframes for the
First Point Offset and the Last Point Offset.
| | 04:23 | So just so you can see what it looks
like, I'm going to reset this parameter
| | 04:27 | and reset that parameter, and now you
can see it's only the behavior that's
| | 04:32 | creating this brushstroke.
| | 04:33 | So as it goes through, you can see
this is being adjusted by the behavior.
| | 04:39 | So I hope that wasn't too
overwhelming with all the different options.
| | 04:43 | Just remember, when it comes time to
animating brushstrokes, really you want to
| | 04:48 | be looking in the Stroke area, the
Advanced area, or using one of the behaviors
| | 04:53 | out of the Shape area and Behaviors.
| | Collapse this transcript |
| Using the Replicator| 00:00 | The replicator is another one of those
tools in Motion that really kind of makes
| | 00:04 | motion graphics fun again.
| | 00:06 | See, anything that you drag and drop into a
Motion project you can turn into a replicator.
| | 00:12 | Now I want you to understand you need
to be a little aware of what you're doing
| | 00:18 | when you start replicating things.
| | 00:20 | See, if I drag the full HD video clip
in here and try to replicate it, things
| | 00:25 | might come to a screeching halt.
| | 00:27 | I mean they might not, but you just
want to be aware as to how much processing
| | 00:32 | power is going to be required to be able to
process something that's going to be replicated.
| | 00:37 | Now, to give you an understanding as to
how a replicator works, or what one even
| | 00:42 | looks like, let's go ahead and create one.
| | 00:45 | Now if we look in our project here,
you'll notice I have a generator.
| | 00:49 | And if we analyze it in the Inspector, I
just set it as a gradient, and its width
| | 00:55 | is about 20 pixels across
and it's a full 720 high.
| | 00:59 | Now in order to replicate this, I'm
just going to go ahead and go down to the
| | 01:04 | lower-right corner of my
toolbar and click Replicate.
| | 01:09 | Now you'll notice I've got this grid,
and this grid allows me to visually adjust
| | 01:14 | what's going on in the scene by
clicking on one of the corners.
| | 01:18 | Now something that's kind of interesting,
as I'm clicking and dragging here, I'm
| | 01:22 | not holding Shift or anything else.
| | 01:24 | It's just creating this dynamic
rectangle and allowing me to move the edges
| | 01:30 | around just by clicking and dragging.
| | 01:33 | See, if you go to the Replicator section
of your Inspector, you'll see the shape
| | 01:38 | is always going to be a rectangle.
| | 01:41 | Now I can adjust how this is set
up by looking at the arrangement.
| | 01:47 | So right now, it's set to Tile Fill.
| | 01:50 | Now if we look further down, we have
Columns and Rows, so each one of these axes
| | 01:56 | is the center point for the start of
the object that is being replicated.
| | 02:01 | Now since I started with a vertical
line, you're not seeing all the different
| | 02:06 | copies that are going up and
down, creating the vertical rows.
| | 02:11 | So in order to see that, I'm going to
go down to my Cell controls here and just
| | 02:16 | adjust the Angle by clicking and dragging.
| | 02:18 | Now you can see exactly what we're dealing with.
| | 02:23 | As I adjust the Angle, here you can see
this is truly the center point of each
| | 02:28 | one of these elements.
| | 02:30 | So I hope you're inspired right now
just by looking at this scene, because
| | 02:35 | basically, you can create some pretty
amazing animations and complex builds
| | 02:41 | rather quickly and easily
just by choosing Replicator.
| | 02:45 | Now I just want to show you some of
the other preset options, as far as the
| | 02:50 | shape is concerned.
| | 02:52 | So if we go to the Shape here, we could
choose Circle and it'll replicate in a circle.
| | 02:57 | Instead of filling through a
Tile, we could choose Random Fill.
| | 03:02 | This way you can just choose a random
number and it fills completely randomly.
| | 03:08 | Now if we want to adjust how this looks
on the screen, with the circle you can
| | 03:12 | just click and drag out.
| | 03:14 | So I really kind of enjoy the
interactive nature as to how to move this
| | 03:18 | around and build things, but it really
starts to get fun when you try and animate things.
| | 03:25 | Now animating replicators
is done through behavior.
| | 03:30 | So go down in the toolbar to your
Behaviors, and here under Replicator, I want
| | 03:34 | you to choose Sequence Replicator.
| | 03:37 | See when we choose that, we can choose a
parameter that we would like to animate.
| | 03:42 | So what I want to do is add the Scale
adjustment, and I want it to sequence
| | 03:49 | from the scale of 0%.
| | 03:53 | So it will go one time all the
way through to the end and hold.
| | 03:59 | Now since Sequence Replicator is the
entire length of the composition, as I
| | 04:04 | start scrubbing through, here you notice
it's just going one by one all the way through.
| | 04:11 | Now I can get a lot more organized by
selecting the Replicator and instead of
| | 04:17 | choosing Random Fill, we could choose Tile Fill.
| | 04:21 | And this way, you'll notice it starts
in the center and works its way out.
| | 04:25 | Well, if you want to adjust how the
animation is moving, change the Origin.
| | 04:31 | So here if I set the Origin to the Edge,
now it's going to start on the edges and
| | 04:37 | animate in towards the center point.
| | 04:40 | When you choose a different shape, such
as a rectangle or a burst or something
| | 04:44 | like that, you'll get
different options for the Origin.
| | 04:49 | So when it comes to creating some
graphics that are repetitive but still look
| | 04:54 | kind of dynamic and interesting,
the best place to always start is by
| | 04:58 | checking out the Replicator.
| | Collapse this transcript |
| Replicating video| 00:00 | Usually when I show people the
Replicator, the first thing they get excited to
| | 00:03 | do is take a huge video file and
load it in and try and create many, many
| | 00:08 | duplicates of it using the Replicator.
| | 00:11 | Now I'm not saying you can't replicate
video, because you most definitely can.
| | 00:15 | I am just warning you, you should
either compress the video file using a codec
| | 00:20 | that gives you a small bit rate,
like H264, or just scale the size of the clip
| | 00:27 | down and pre-render it before you bring it in.
| | 00:29 | If you know it doesn't need to take up
the full screen, don't bother using all
| | 00:34 | that processing power.
| | 00:35 | Now, just for the sake of argument,
I did bring in a full-res video clip.
| | 00:40 | If we select it here and check out,
under the Inspector, the Scale on X and Y, I
| | 00:45 | did scale it down to 18%.
| | 00:47 | Now when you replicate video, you get
some extra controls you don't usually get
| | 00:51 | from a normal replicator.
| | 00:53 | So select the video layer
and click on Replicate.
| | 00:57 | Now of course, by default, it's going
to try and do this grid, which looks
| | 01:01 | pretty darn cool, but it
has way too many points.
| | 01:04 | So I'll just go and change the number
of Columns down to 2, and the number of
| | 01:12 | Rows, let's set it at 5. That's fine.
| | 01:16 | Okay, now, notice we still have the
same options with Shape and Arrangement.
| | 01:22 | But where the fun begins is when we go
down to the Cell controls, because down
| | 01:26 | here, notice there is an option to Play Frames.
| | 01:29 | So when would you want to deselect this?
| | 01:31 | Well, if you know that it's video,
and you're just trying to tweak how it looks
| | 01:36 | on the page, you don't need to use all
the processing power of playing every
| | 01:40 | single frame while you're just sort
of previewing the animation in general.
| | 01:44 | So one thing you can do is
choose different Start Frames.
| | 01:49 | So if I press play right now, it
is going to go ahead and playback.
| | 01:53 | And I am getting a decent playback,
20 frames out of a 29.97 project.
| | 01:58 | That's pretty good.
| | 01:59 | Now in order to make this a little bit
more interesting, yes, I can sequence the
| | 02:03 | Replicator, and have some Scale options
and other things like that, but really
| | 02:08 | what I want to do is just sort of
play with some of the video options.
| | 02:12 | So let me start playback here for a second,\
and just start dragging to change things.
| | 02:16 | First thing, if you bring in a video
clip and you realize hey, I don't want it
| | 02:20 | to start playing right at frame 1,
| | 02:22 | I need to trim it in a little bit,
| | 02:24 | you can; just click and drag on the slider,
and now it won't start playing until frame 28.
| | 02:29 | You can create an offset
between each one of the clips.
| | 02:34 | Now, I chose specifically this dancing
clip because I like how he moves around
| | 02:41 | the page, and when you were just an
offset for something like this, you'll
| | 02:45 | actually see it a little more clearly.
| | 02:48 | So let's go ahead and adjust the
offset, and here you can see how it's starting
| | 02:54 | at the center and its how
he's kicking out all the way out.
| | 02:58 | So I want this to go from top to bottom,
so in order to deal with that, we need
| | 03:03 | to change the anchor point, or the Origin.
| | 03:07 | So let's choose Top.
| | 03:09 | Now he's going to sequence through from the Top.
| | 03:13 | Let's load up a preview.
| | 03:15 | So here you notice each one of this
clips is in unison, horizontally, but it's
| | 03:20 | actually sequencing through
from the top all the way down.
| | 03:25 | So yes, you can get completely crazy
when you choose a replicator with video by
| | 03:32 | adjusting many of the different settings,
but the ones that you want to look at
| | 03:36 | are really these Source Frame Starts,
the Offset, and the Hold Frames.
| | 03:42 | You can completely randomize this
as well, but honestly, like I said, I
| | 03:47 | really enjoy having this sequence
through, just because of the motion of
| | 03:51 | this video clip.
| | Collapse this transcript |
|
|
11. Working in 3DViewing a scene in different layouts| 00:00 | Working in a 3D environment does
literally add a new dimension to your work
| | 00:04 | inside of Motion, but it really actually
creates many, many different situations
| | 00:10 | that you have to deal with,
the least of which is orientation.
| | 00:13 | I mean if a project is too simple or
layered up with way too many things in the
| | 00:17 | scene, sometimes it's easy to get
confused as to which way is actually up.
| | 00:22 | Thankfully, there are a couple of tools
inside of Motion to help with that situation.
| | 00:26 | So if we look at our project here,
you'll notice I have a camera in the scene.
| | 00:31 | You want to make sure to have at
least one camera in your project.
| | 00:34 | That way when we go through the
different menus, your menus will look like mine.
| | 00:39 | In this project as well, I also have a
Lights group, which I'm just going to turn
| | 00:43 | off for now, and a background layer which is 2D.
| | 00:47 | But I'm still going to turn that off for
right now, because I want to be able to
| | 00:50 | focus on exactly what we're
seeing here in this individual layout.
| | 00:55 | When you're looking the upper-left
corner of the canvas, as I'm sure you know,
| | 00:59 | this is the Camera menu.
| | 01:00 | When I click on this, I can choose
between the Active Camera or the Camera.
| | 01:05 | Notice I'm not really
seeing much of a difference.
| | 01:07 | That's just because my camera is the Active
Camera because it's the only one in the scene.
| | 01:11 | Now, there are two different kinds of
views that you can use to view a 3D scene.
| | 01:16 | There is a perspective view,
so let's switch to that.
| | 01:19 | See, with a perspective view you can
actually see what's going on in the 3D
| | 01:24 | environment, orbit around,
and see how things look in perspective.
| | 01:29 | But there are also orthographic views.
| | 01:32 | These orthographic views are like Front,
Back, Left, Right, so let's choose Left
| | 01:38 | here. And as you can see, I can tell
that these circles are actually turned
| | 01:44 | slightly just because
they're not completely flat.
| | 01:47 | See, when an orthographic view is perfectly
perpendicular to your object, you'll see lines.
| | 01:53 | So let's switch to the top here.
| | 01:55 | See the lines? That's just letting
me know exactly where each one of the
| | 01:59 | objects are in the scene.
| | 02:01 | Now, a lot of times when you have thin
lines like this you may want to either
| | 02:04 | zoom in on the scene or just
select Objects in your Layers panel.
| | 02:09 | Switching between views in the Camera
menu can be helpful, but honestly, most
| | 02:14 | of the time when you're trying to gain
perspective on things, you want to have
| | 02:17 | more than one view up at a given time.
| | 02:19 | So let's switch back to our Camera view
and go to the upper-right corner of your
| | 02:24 | camera, so all the way in upper
right where you see there's a rectangle.
| | 02:27 | If you click and hold,
notice you don't get any words.
| | 02:30 | It's just a graphic
representation of multiple views.
| | 02:34 | Since I have a wide screen here, let's go
ahead and choose this 2 up Horizontal view.
| | 02:40 | Now, I have two separate
views that I'm looking at.
| | 02:43 | Now, I have an active view which is
surrounded in yellow and then an Inactive view.
| | 02:48 | See, when I click on a view, that allows me
to make adjustments within that one window.
| | 02:54 | When I click on the other view, that
allows me to make adjustments in that window.
| | 02:58 | It also allows you to
see previews of animations.
| | 03:02 | So when you're working with multiple
views, you want to make sure to pay
| | 03:06 | attention to exactly which
view is currently active.
| | 03:10 | Let's look at the 3-Up view.
| | 03:12 | When we go to 3-Up, I personally like
using this view because I can keep the
| | 03:17 | camera view up here and at the same
time I can still have a perspective view
| | 03:22 | in the other window, so I can orbit
around and get a better idea as to where I
| | 03:27 | am in perspectives, and I can still
keep one of the orthographic views.
| | 03:33 | Now whether you choose to have the
camera in one of the smaller upper windows
| | 03:37 | or in the lower window, it's entirely up to you.
| | 03:40 | When you change one of these windows,
the next time you go to that layout, the
| | 03:44 | windows will be set up that way.
| | 03:46 | So for example, if I go to the bottom
window down here and change it from a
| | 03:50 | Top view to the Active Camera view and then I
change this Upper-left view to the Front view--
| | 03:59 | this is perfectly flat right now--
| | 04:01 | if I switch away from this 3-Up view
back to a single view, notice it switched
| | 04:06 | to my active view, which was this Front view.
| | 04:09 | But also, when I click Back here and go
to the 3-Up view, I still have my Front
| | 04:14 | view, my Perspective view, and my
Active Camera set up accordingly.
| | 04:18 | Now, let's look at just a few more tools we
can use to figure out exactly where we are.
| | 04:23 | First, let's select the upper-left
window and change back to that Camera view
| | 04:29 | and go back to our 1-Up view.
| | 04:32 | As you're looking through the camera,
when you orbit around or move, we're
| | 04:36 | literally moving the camera.
| | 04:38 | So if we switch to the perspective view--
and let me zoom out here a little bit--
| | 04:44 | within the perspective view, I can
select my camera and notice as I move my
| | 04:50 | camera down here in the lower-right
corner, I'm getting kind of an inset view.
| | 04:54 | This is letting me know
exactly what my camera is seeing.
| | 04:57 | Now, you'll get the inset view anytime
you don't have the camera as your main
| | 05:02 | view and anytime that you
actually start moving the camera.
| | 05:06 | If you're not seeing the camera,
you need to go up under the View options and
| | 05:10 | make sure that you have all of
these different options selected.
| | 05:14 | So there are 3D Overlays like the 3D
View tools, the Compass, which we'll get
| | 05:19 | to in a second, the Inset view, which you just
saw a second ago, and let's turn on 3D Grid.
| | 05:26 | See, the 3D Grid allows you to see
exactly where the floor is, if you will,
| | 05:33 | within the Motion project.
| | 05:34 | So thankfully, we have just put the
floor pretty much in the same place as
| | 05:38 | where our 3D Grid is.
| | 05:39 | Lastly, the 3D Scene Icons,
| | 05:42 | if we deselect that, notice we
can't see the camera anymore.
| | 05:45 | Also, if we turn the lights on, even
though we can see the lights, we physically
| | 05:49 | can't click on them and adjust them in
the canvas unless we go and turn the 3D
| | 05:54 | Scene Icons back on.
| | 05:56 | Now, I can click right on any one of the
lights if I just deselect my camera there.
| | 06:01 | There we go! I can click on any one of the 3D Scene
icons. And last but not least, I want
| | 06:07 | to cover the Compass.
| | 06:09 | The Compass is a fast way of switching
between views, just by letting your mouse
| | 06:13 | hover over any one of these blocks.
| | 06:16 | So notice if I click right on this right block,
it's going to switch my view to the right view.
| | 06:22 | So it kind of works in the similar
fashion to the camera pulldown;
| | 06:26 | it's just a little faster.
| | 06:28 | Now, to switch back to your Active Camera,
or your Camera, just Ctrl+Click right
| | 06:32 | over the Compass and choose Camera.
| | 06:35 | That way we can jump right back
into where we are in the scene.
| | 06:38 | As I've been talking, I know I've
shown you a lot of different tools and
| | 06:42 | sometimes you can still
feel a little bit overwhelmed.
| | 06:45 | But I have a little tip for you
and it has to do with cameras.
| | 06:48 | In the next chapter, we're going to get
really in depth with cameras, and you'll
| | 06:52 | learn everything about how to
control them and set them up in a scene.
| | 06:56 | But basically, as you start building
your complex projects, you want to just
| | 07:01 | add cameras, add custom views around
the areas of the project where you're
| | 07:06 | going to be working.
| | 07:07 | See that way, you can just switch
back and forth between your own custom
| | 07:10 | cameras, and you'll have a much better
idea as to exactly where you're working
| | 07:15 | in the scene.
| | Collapse this transcript |
| Working with lights| 00:00 | There are four different kinds of
lights you can create within Motion, and they
| | 00:04 | each have their own set of options to
help you recreate something that looks
| | 00:08 | more like the real world.
| | 00:10 | The thing to understand with lights,
adding them to the scene is only the first
| | 00:14 | part of the process.
| | 00:15 | Usually you want to select all the
other objects in the scene and determine how
| | 00:19 | the light is going to bounce off of
that object, so you can make things look
| | 00:23 | shiny instead of dull or have
shadows instead of no shadows.
| | 00:27 | So let's look at these lights and see
some of the different options we can adjust.
| | 00:34 | The first light that I have set up
here is a Point Light, and a Point Light,
| | 00:38 | the easiest way I like to think of it,
think of it as something like an empty
| | 00:43 | light bulb in a scene.
| | 00:45 | If you had a lamp and you took the
lampshade off, the light would come out in 360 degrees.
| | 00:49 | Well, that's how a Point Light functions.
| | 00:53 | If you press F7 to open up the HUD,
you'll notice we have an option for the
| | 00:59 | Color, the Intensity,
| | 01:01 | the Falloff Start and the Falloff.
These are pretty common sets of options
| | 01:07 | for all of the lights.
| | 01:08 | So once I teach this to you once, I'm not going
to jump back over again with the other lights.
| | 01:13 | First thing with color, again you try
and simulate the real world, so if we
| | 01:18 | change this white light to a kind of
blue light, now all of a sudden we can
| | 01:22 | make it look sort of like
dusk in the winter time.
| | 01:26 | Intensity just controls the
brightness of the light, and the Falloff Start
| | 01:31 | determines how far the light can travel
before it starts to decay, so the larger
| | 01:36 | the number the brighter you'll notice the scene.
| | 01:40 | Now the Falloff is actually how fast
that transition actually happens once the
| | 01:45 | Falloff Start occurs. So notice as I
adjust the Falloff Start here, as my
| | 01:50 | Falloff is at 100%, it's a very
sharp contrast from bright to nothing.
| | 01:57 | This next option is for Shadows.
| | 02:00 | If I turn that on, notice as I move
this light around now, these letters
| | 02:05 | are casting shadows.
| | 02:07 | Softness just controls the
softness of those shadows.
| | 02:12 | Now there are some other options.
| | 02:13 | If you press I to open up the Inspector,
notice that under Shadows, when I open
| | 02:19 | that up here, there is a
setting for uniform softness.
| | 02:23 | Let me magnify this image,
just Command+Plus until we're up to 100%.
| | 02:28 | Notice how the shadow almost
looks like it's darker up at the top.
| | 02:33 | With Uniform Softness on, what it does,
it just blurs the shadow the same all the
| | 02:37 | way across everything, and you want
to leave this selected while you're
| | 02:41 | building your animation, so your
system doesn't start to lag. But just before
| | 02:46 | you go to output your project,
you probably want to deselect Uniform Softness
| | 02:51 | and this will actually create a much
more realistic blur to your shadow.
| | 02:58 | Also, I can adjust the opacity of the
shadow, so it doesn't necessarily have to
| | 03:03 | be so dark. And yes, of course, I can
adjust how soft the shadow is as a whole
| | 03:09 | and again with Uniform Softness deselected,
| | 03:12 | it will feather that out
over the length of the shadow.
| | 03:16 | So let's re-enable Uniform Softness
and look at our next light in the scene.
| | 03:21 | I want to disable the point light,
and notice the scene just pops up to 100%
| | 03:26 | brightness everywhere.
| | 03:27 | Whenever you add a light--you go up
under Object and choose New Light--
| | 03:31 | whenever one is added to the scene,
everything else just kind of changes.
| | 03:36 | So that Ambient light here, which is
the next light we're going to look at,
| | 03:41 | if we look at that right here, you notice the
only option is for the Color and the Intensity.
| | 03:46 | Notice there isn't even a light
to physically grab in the canvas.
| | 03:50 | That's because this is just
controlling all the light in the entire scene all
| | 03:55 | the way around. So if you crank up the
Intensity or bring it down, you notice
| | 04:00 | everything is adjusting all at once.
| | 04:02 | These circle shapes have gradients on
them, so as I adjust the Intensity, it
| | 04:07 | does look like the shape of the objects
are changing. But if I just click on one
| | 04:13 | of these in orbit around here, you'll
see these are flattering than a pancake.
| | 04:19 | Okay, there's no real depth to those objects.
| | 04:21 | I just like using the gradient shading,
so it does appear more like a 3D object.
| | 04:27 | Now Ambient light, you typically want
to use this to add light throughout the
| | 04:32 | scene after you've added
something like a Point Light.
| | 04:35 | See with the Point Light, I've tinted
the scene blue, and then the Ambient light,
| | 04:39 | it is just making sure that the rest of
the scene has some kind of light going
| | 04:43 | on, just to kind of
brighten things up a little bit.
| | 04:46 | So yes, as you have multiple
lights, you can mix them together to
| | 04:50 | create different feels.
| | 04:52 | So for example, the Point Light is blue
and if we change the Ambient Light to yellow,
| | 04:59 | now notice--that's kind of a
heavily saturated yellow, there we go.
| | 05:04 | If I bring that back over here, you notice
now over here the light has turned green.
| | 05:10 | That's because yellow and blue
mixed together and make green.
| | 05:13 | So as you mix different colors of lights,
you can create all different kinds of
| | 05:17 | looks to your scenes.
| | 05:19 | Now let's disable both of those
previous lights and look at the Spotlight.
| | 05:23 | Spotlight is kind of an
interesting. Let me just zoom out the
| | 05:26 | magnification here.
| | 05:27 | Spotlight looks literally just like a
light you would have at a theater show.
| | 05:32 | You can adjust, yes, the Color and
the Intensity like everything else,
| | 05:36 | the Falloff Start in the Falloff, yes,
but the cone angle and the softness of the
| | 05:41 | edge of the angle are really
aware the power of the spotlight lies.
| | 05:45 | See, if I bring the Cone Angle down,
here I can just illuminate one specific area
| | 05:52 | and if you wide in the Cone Angle,
obviously you'll brighten everything else.
| | 05:59 | The Cone Angle can go from 0 to 90.
| | 06:02 | Let's bring that back down to something a
little more manageable, around 20, and if
| | 06:06 | you soften the edge, that's just
going to soften the transition.
| | 06:09 | So if you want kind of a sunlight feel,
I would use a spotlight, have a really
| | 06:15 | soft edge on it, and then just adjust
the color with a slight yellowy orangey
| | 06:20 | tint, depending upon the time
of day that you want to create.
| | 06:23 | Notice there are no shadows here.
| | 06:25 | You need to enable Shadows just by
clicking this box here and then if you go
| | 06:29 | under Show, notice we have the same
options for Shadows here. I can adjust the
| | 06:33 | Shadow Opacity as well as it's Softness
just like with the Point Light, so Spot
| | 06:39 | Lights and Point Lights
have shadow capabilities.
| | 06:42 | Now with a light like this that's so
yellow, you might want actually tint
| | 06:46 | the shadow, so let's up the
Saturation here and tint the shadow in kind of a
| | 06:52 | burnt orange color.
| | 06:53 | Now if we bring the Opacity up here,
you can really kind of see that color that
| | 06:58 | that's coming through.
| | 06:59 | Now if we disable the Spotlight, the
last light you want to check out is this
| | 07:04 | light here, the Directional Light.
| | 07:06 | If I rotate this light around so you
can see it from the profile, notice it's
| | 07:10 | just in open ended cylinder.
Okay, it's kind of hard to see.
| | 07:16 | Let me rotate around here a
little bit more. There we go.
| | 07:18 | There you can see the open-ended points.
| | 07:21 | All it's doing is casting light in a
direction at 100% intensity forever.
| | 07:29 | So it makes no difference if I pull this
light way back away from the objects or
| | 07:34 | even behind the objects, it doesn't
matter; this light just shoots light in a
| | 07:40 | direction and that's that.
| | 07:42 | As I mentioned earlier, there are
setting options for all of the different
| | 07:47 | objects in the scene.
| | 07:49 | So once you actually start adding
lights and blending them together, you can
| | 07:53 | definitely create some different
looks and some more natural feels. But to
| | 07:58 | really start to pop things, you need to
start getting into the settings for each
| | 08:03 | of the objects in the scene
and how they interpret lights.
| | 08:07 | We will definitely jump
into that in our next video.
| | Collapse this transcript |
| Adjusting lighting and reflectivity| 00:00 | If you've ever shot video or still
photography yourself in a studio environment,
| | 00:06 | you understand how
important lighting actually is.
| | 00:09 | But also, you understand that some of
the process can be rather tedious and a
| | 00:15 | little frustrating, especially when you
want something to be lit, but let's say
| | 00:19 | you don't want a huge
shadow cast off that object.
| | 00:23 | The beauty of doing lighting with a
software package like Motion is the fact
| | 00:28 | that you can actually do things
that you can't do in the "real world."
| | 00:33 | So for example, I could illuminate this
type but have it not cast a shadow, or
| | 00:38 | I can have it cast a shadow on the floor
but not on another object that might be
| | 00:43 | right behind the text.
| | 00:44 | See, anytime you add a light to a scene,
there are lighting options, lighting
| | 00:49 | parameters you can adjust, but then
there are also lighting object options that
| | 00:54 | are available for each object in the scene,
in terms of how they will accept that light.
| | 00:59 | So to see exactly what I'm talking about,
let's open up our Floor group here in
| | 01:05 | the Layers panel and just select
this generator, the Color Solid 1 Copy.
| | 01:11 | This is the Floor layer.
| | 01:13 | So if we open the Inspector, with the
floor selected, go to the Properties tab,
| | 01:19 | and down here notice there are
Transform properties, Blending properties, which
| | 01:24 | I'm sure we've seen before, but there's
also Lighting properties, Lighting and
| | 01:29 | Shadows, and there's a
separate section for Reflections.
| | 01:34 | In the Blending area there is an
option where you can cast reflections.
| | 01:38 | So if this were close to another
object, the other objects, if it had
| | 01:43 | Reflections enabled, would be able to see it.
| | 01:45 | But let's look at the Shadows section.
| | 01:48 | Notice the floor can cast shadows,
which is kind of redundant. We don't need it
| | 01:52 | to do that because it's going be the
Floor, so we might as well turn that off.
| | 01:56 | It's one less thing Motion has to process.
| | 01:58 | Receive Shadows, I could disable that,
and now all of a sudden you notice there
| | 02:02 | are no shadows on the floor.
| | 02:04 | There's no shadow behind the circle.
| | 02:06 | There's no shadow behind
the Type. You get the idea.
| | 02:09 | I could also just say
Shadows Only. It's kind of cool.
| | 02:12 | I am seeing the red for the
shadows, but you get the idea.
| | 02:17 | You can set up Shadows Only or
have it set up to receive shadows.
| | 02:23 | So let's leave Receive Shadows
selected and look at the Reflection options.
| | 02:29 | Notice there are no
Reflection options for the Floor.
| | 02:32 | Well, what if I wanted these circles to be
reflected in the floor, or better yet, the type?
| | 02:37 | Well, sure, enable Reflection.
| | 02:41 | Now when I click on that, you can see a very
clear reflection of what's going on in the scene.
| | 02:46 | We have some more controls that
could make this a little more polished.
| | 02:50 | First thing, the amount of
Reflectivity adjusts how bright the reflection is
| | 02:56 | going to be, basically.
| | 02:59 | Let's crank that back up to
around 80 and look at the Blur Amount.
| | 03:03 | If we drag that to the right, that's
going to blur the reflection, so this is a
| | 03:07 | great way if you want something to look
like a dull blurry metal, you can have
| | 03:11 | something set up like this.
| | 03:14 | My favorite option here is actually the Falloff.
| | 03:17 | So I am going to bring the
Blur back down and enable Falloff.
| | 03:22 | Now, with Falloff enabled, what we can do is
adjust both the Beginning and End Distance.
| | 03:27 | So if I drag the End Distance back
to the left, notice the spheres are
| | 03:32 | starting to fade, and if I drag
further, notice I'm starting to get a fade
| | 03:38 | on the type itself.
| | 03:40 | If we orbit around the scene, here
you'll notice that the spheres, these uppers
| | 03:46 | spheres, are significantly farther
from the floor than the type layer.
| | 03:50 | So that's why those spheres are
starting to disappear before we actually start
| | 03:55 | to see a fade in the type.
| | 03:57 | So let's just crank the End Distance
back up here a little bit, and we can adjust
| | 04:03 | the Exponent, which, this is just the
softness of the transition between a
| | 04:08 | reflection and no reflection.
| | 04:12 | In some instances you may want to
actually blend how the reflection blends
| | 04:17 | with the object itself.
| | 04:19 | So for example, if I said Add, it's
going to add the reflections into the floor.
| | 04:25 | Now check this out.
| | 04:26 | This really kind of gives a neat
illuminated effect to the floor as though these
| | 04:31 | spheres are casting color into the Floor.
| | 04:35 | This is kind of a neat way to achieve
that effect, adjusting the blend mode.
| | 04:38 | Now, I am going to set that back to
Normal. And there is one more thing we
| | 04:42 | need to look at in terms of objects
properties for lighting, and that's
| | 04:48 | actually lighting itself.
| | 04:50 | See, in the Properties section of the
Inspector, the top option here is Lighting.
| | 04:55 | So if we enable that for the
floor, look at what happens.
| | 04:59 | It doesn't appear as
though hardly anything happened.
| | 05:02 | Well, if you crank up the Shininess,
you should notice a difference when let's
| | 05:07 | say a light is relatively close to the floor.
| | 05:11 | So if I bring this light down here
to the floor, let me go ahead and move
| | 05:14 | that back in the scene so you kind of see
what's going on here and move that a little closer.
| | 05:22 | Now, we've got things a little closer
in the scene. Now if we go back to our
| | 05:26 | Floor options here, look what
happens as I adjust the Shininess.
| | 05:30 | It's going to allow me to
make changes to the floor itself.
| | 05:35 | So if the Shininess is set to 0, I get
this kind of funky matte blown-out look.
| | 05:42 | And as I increase the Shininess,
things get more and more glossy. And the
| | 05:48 | materials, all in all, will start to
appear a little more shiny, if you will.
| | 05:53 | This is a great way to help make
things look a little more plastic ,if you're
| | 05:57 | applying polish to your image.
| | 06:00 | To make things a little more
complicated, there are Lighting options for each
| | 06:05 | layer in your Layers panel. But if
you go up to the Group, there are Group
| | 06:10 | Lighting options as well.
| | 06:11 | So notice within the group I still have
an option to cast reflections, I have an
| | 06:17 | option for the shading itself for the
lighting, for shininess, and that kind of
| | 06:22 | thing, and then I have
an option for reflections.
| | 06:25 | So you can set options that
override the individual objects--
| | 06:31 | here, let me enable reflecting here--
but notice when you make those adjustments,
| | 06:36 | it's just kind of mixing things together.
| | 06:38 | If I crank up the Reflection here and
then go back down and adjust my Shininess
| | 06:44 | down here, I'm still getting a
combined result between the two.
| | 06:49 | Just when you add the group aspect into
it, Motion has to look at everything and
| | 06:55 | determine exactly how to process the image.
| | 06:58 | So sometimes within a group you may need
to go over and decide whether something
| | 07:03 | is going to be 2D or 3D.
| | 07:06 | See what happens when I change this to 2D.
| | 07:09 | Now the entire group is gone.
Even though I may have some Reflection options
| | 07:15 | for this layer here, you are not going to
see anything because it's no longer a 3D layer.
| | 07:22 | So as you go through and make changes,
you may notice that different things
| | 07:28 | will look slightly different as you
apply the different Lighting options to
| | 07:33 | groups as opposed to objects.
| | 07:35 | So as you are first getting started
what I recommend is making your adjustments
| | 07:39 | to the lighting within individual
layers as opposed to the group as a whole.
| | 07:45 | Another thing that does, when you add
different options to a group, sometimes
| | 07:51 | you'll see things like this, which is
this R. See, what the R is telling me, this
| | 07:57 | image is now rasterized, meaning it is
no longer something that I can just go
| | 08:03 | ahead and scale randomly.
| | 08:05 | It has to do that in order to process
this reflection in addition to the other
| | 08:11 | reflection that I applied down here to
the layer contained within the group.
| | 08:17 | So another thing I can recommend as
you're moving around with different groups,
| | 08:22 | if you want to enable reflection for
a whole bunch of objects, just have
| | 08:26 | Reflections turned off for each
individual layer and then enable it for the
| | 08:30 | group as a whole, but don't sit there
and try and blend things back and forth
| | 08:34 | between individual layers and individual groups.
| | 08:38 | I know this may seem a little bit
confusing, because each individual object has
| | 08:43 | its own set of options for lighting and
blending, shadows, and reflections, but
| | 08:50 | you have to trust me when I tell you
this will give you the best amount of
| | 08:53 | control when it comes to actually
getting the composite image to look exactly
| | 08:58 | the way you want. Because again, I can
determine exactly how each object looks,
| | 09:04 | whether it accept lights, whether it
transmits shadows, whether it receives
| | 09:08 | shadows, or even if it casts reflections.
| | Collapse this transcript |
| Creating and adjusting shadows| 00:00 | Since there's a lot of control of the
lighting in Motion, it makes sense that
| | 00:05 | there are many options to adjusting how
shadows are created and received within
| | 00:11 | objects within Motion.
| | 00:13 | So if we select our Point Light here in
our composition, you'll notice as I move
| | 00:20 | it around the scene--here let me press
Shift+Z to zoom in here a little bit.
| | 00:23 | You'll notice as I move around the
scene that I'm adjusting my light, but there
| | 00:30 | are no shadows in the scene.
| | 00:31 | See, in order to create a shadow in Motion,
you need to create a shadow first from
| | 00:37 | the light that you add to the scene.
| | 00:39 | So I'll select the Point Light and in
the Inspector, if you go to the Properties
| | 00:44 | section, there's nothing. You need to
go to the Lights section. In here are my
| | 00:48 | Light Controls, and at the
bottom I have an option for Shadows.
| | 00:52 | So enable shadows by clicking this box
on the left-hand side here, and shadows
| | 00:57 | will be created in the scene. As you can
see, here they are, and if you move over
| | 01:03 | to the right side of this bar,
click on Show, you can see we can make
| | 01:07 | adjustments to these shadows.
| | 01:09 | So I can adjust the overall opacity of the
shadow, as well as the softness of the shadow.
| | 01:15 | If you go to the Render settings in
your Composition, you want to make sure
| | 01:20 | Quality is set to Best when you are
initially setting your shadows, because you
| | 01:25 | want to make sure that you
get those settings just right.
| | 01:28 | You may have noticed the hesitation
in my system, because I did have it set
| | 01:31 | to the Best quality.
| | 01:33 | If you click on Normal, you'll
notice as you make changes, things should
| | 01:37 | happen a lot more quickly.
| | 01:40 | Also, you'll notice that my
type here is pretty jagged.
| | 01:44 | It's really important to make sure
before we go to export that the quality is
| | 01:49 | set to Best or in the Export
options we change it to Best.
| | 01:53 | Now there are couple of different
options once you've actually determined that a
| | 01:56 | light will create shadows. You need to
also check the objects that are set up
| | 02:03 | to receive shadows.
| | 02:04 | But before we do that, I want to
show you one more thing: it's this
| | 02:08 | Uniform Softness check box.
| | 02:10 | What this does, it makes every single
piece of the shadow exactly the same in
| | 02:16 | terms of the softness setting.
| | 02:18 | Now since this light is so close and
we're creating this crazy distorted kind
| | 02:22 | of shadow, I'd probably want to deselect
Uniform Softness before I output this example.
| | 02:29 | The reason, as this shadow moves
further away from the light, you want it to
| | 02:34 | actually get softer.
| | 02:36 | So if you deselect Uniform Softness,
just understand that that does increase
| | 02:41 | render times exponentially.
| | 02:43 | Now sometimes when you have objects
intersecting and you have them casting
| | 02:49 | shadows, you may notice the shadow appear
slightly a little bit in front of the object.
| | 02:54 | Now that's not the case with this type
layer just because it's kind of floating
| | 02:58 | a little bit above our floor, but if
you ever see that little bit of shadow and
| | 03:01 | you're kind of wondering what's going on,
deselect Uniform Softness, change your
| | 03:06 | Render settings up to Best,
and see if those things are still there.
| | 03:12 | Like I said, we need to make sure that
an object is set up to receive shadows.
| | 03:17 | So in order to do that I want to open
up my Floor group layer and make sure I
| | 03:22 | have my Color Solid generator selected
here. And in its Property section you can
| | 03:28 | scroll down, and under Lighting,
notice here are the Shadow properties.
| | 03:33 | So I can set it up to cast
shadows or receive shadows.
| | 03:36 | Now to speed up the processing,
I'm just going to disable Cast Shadows,
| | 03:40 | because it's the Floor; I'm not ever
going to be wide enough to where I could
| | 03:44 | see the edge of the floor.
| | 03:46 | So when it comes down to creating
shadows, it starts first by enabling shadows
| | 03:52 | with the lights, and then it ends
by making sure you have the lighting
| | 03:57 | adjustment for shadows enabled for each
object you want to receive the shadows.
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| Creating replicators in 3D| 00:00 | Now, if you've been following through
the training, you may recognize some of
| | 00:03 | this footage, and I'm just going to
preface this video by explaining that if
| | 00:07 | you go through all of the training, you will
have all the tools to be able to create this.
| | 00:12 | So this piece of footage, which is
a girl dancing, if we go ahead and
| | 00:17 | press play, this was originally green-screen
footage, which we keyed in the Keying chapter.
| | 00:23 | And then later I created this
silhouette look in the pre-render video,
| | 00:28 | which you'll see later in the training.
But it's the perfect source to use
| | 00:33 | the 3D replicator with,
| | 00:35 | so I figured we'd go ahead and replicate
this dancing person by using Replicate 3D.
| | 00:43 | I'm sure you may recognize the style,
but rather than having it just stay over
| | 00:47 | this one shape, we are going to use 3D
replicators to really kind of push this.
| | 00:52 | So with the video layer selected,
let's go down to the toolbar in the
| | 00:58 | lower-right section and create our
replicator by just clicking the Create
| | 01:01 | a Replicator button.
| | 01:03 | Now, you'll see this grid.
| | 01:05 | If we drag the corners out, we can
scale this out so it's replicated over
| | 01:11 | the size of the comp.
| | 01:13 | Now, if we go to the Inspector, under
the Replicator, all we need to do is
| | 01:17 | adjust the Scale down a little bit in
order to have her appear multiple places.
| | 01:25 | I don't want that many in this instance,
but we can adjust exactly that as we
| | 01:33 | turn this into a 3D replicator.
| | 01:36 | If we look at our composition, you
notice we have a 2D layer--see the icon
| | 01:39 | here on the group layer.
| | 01:41 | The quickest way to change this to 3D
is to go up under Object and add a New
| | 01:46 | Camera to the project.
| | 01:48 | This will allow us to click the Switch
to 3D button, and that way the layer is
| | 01:53 | now 3D that contains a replicator.
| | 01:56 | But a replicator isn't 3D until we
actually go in and enable 3D for the
| | 02:01 | replicator in the Inspector.
| | 02:03 | So select 3D, and we still
need to go one step further.
| | 02:09 | If you go up under Shape, click on the
pulldown and now you notice we have an
| | 02:13 | option for Box and Sphere.
| | 02:15 | Let's change this to Box.
| | 02:17 | What Box does is it creates a 3D box.
| | 02:20 | See, now I have an option
for Columns, Rows, and Ranks.
| | 02:25 | Ranks is code for Z space.
| | 02:28 | Now, to accentuate how this is moving
in Z space, I'm just going to orbit our
| | 02:32 | camera here a little bit, and you'll
notice now they actually exist in true 3D space.
| | 02:40 | Now, things might look a little confusing
because we have this background color
| | 02:44 | solid and this layer is just kind
of randomly floating in the scene.
| | 02:49 | Notice how it's kind of flat
underneath our 3D replicator.
| | 02:53 | Well, I want this color solid to
always stay 2D in the background.
| | 02:58 | So if you just click and drag down to
the left, you'll get this plus button
| | 03:03 | and when you let go, that just lets you know
that you've moved the color to under group.
| | 03:10 | And if you select that group, you can
click on its 3D button and make it 2D again.
| | 03:17 | Now all we need to do is just drag it
to the bottom of our layer hierarchy,
| | 03:21 | making sure to drag it to the
left so it stays on its own layer.
| | 03:25 | Now as we orbit around with the camera,
our color solid is going to stay in the
| | 03:30 | background and we can really kind of
push things with our 3D replicator.
| | 03:35 | Since this is a video clip, we can
adjust the playback in terms of whether
| | 03:40 | it's random or offset.
| | 03:43 | So let's adjust the Source Frame
Offset by clicking and dragging.
| | 03:47 | Here, let's adjust it to around 10.
| | 03:52 | Now you'll notice if we play our scene
that each different replicated object
| | 03:57 | is moving at a different rate of speed,
because there is an offset from the
| | 04:04 | start piece of video.
| | 04:06 | We could randomize that further by
randomizing this and choosing Random Start Frame.
| | 04:13 | Now that's going to be extraordinarily random.
| | 04:15 | Having the silhouette is kind
of fun, but it's a little boring.
| | 04:19 | What I want to do is actually have colors
go all the way across the 3D replicator.
| | 04:24 | In order to do that, we need to
change our Color mode from Original to Over
| | 04:29 | Pattern. I want this to change
over the size of the pattern.
| | 04:32 | Now, you notice I do have a color
gradient and our silhouettes are still black.
| | 04:39 | Now, the problem with this, the way the
color gradient is applied, it's blending
| | 04:43 | with the black video and
you're not able to see anything.
| | 04:47 | So what we need to do is actually
change our black source video to white.
| | 04:53 | We don't need to turn on
visibility for this layer.
| | 04:55 | If we just select our source video file
and then go to our Library, under Color
| | 05:01 | Correction, under Filters > Color
Correction, you want to choose Colorize.
| | 05:07 | Just drag and drop that
directly to our source video.
| | 05:11 | Now with that filter selected in the
Inspector, remap black to white and click OK.
| | 05:19 | Now, since we've changed our source
video to actually be a white piece of video,
| | 05:24 | when we select our replicator, no matter
what we choose for the color range, the
| | 05:30 | colors will be
transmitted to each of the objects.
| | 05:35 | So let's change the Color
Gradient to something more like Dawn.
| | 05:41 | Now, this is really kind of popping off
the background. One thing that we can do
| | 05:45 | to kind of blend things
back is adjust the opacity.
| | 05:49 | We can adjust the opacity within the
replicator itself or just adjust the
| | 05:54 | original source opacity.
| | 05:55 | I want to select the replicator itself.
And if you scroll around to your color
| | 06:00 | gradient, click on this little
square up here in the upper left,
| | 06:04 | this will allow you to adjust the opacity.
| | 06:06 | So I can bring the opacity down a
little bit, and now we can see the
| | 06:10 | layers overlapping.
| | 06:12 | I like the effect that this is
creating, but I want to accentuate it.
| | 06:16 | So in order to do that, you want to
enable Additive Blend for the replicator.
| | 06:21 | Now I'm getting this kind of
cool funky additive affect.
| | 06:25 | So if I deselect our 3D replicator,
I can go ahead and press play and you'll
| | 06:30 | notice we have our animated video playing
in the background, replicated over 3D space.
| | 06:38 | I encourage you to continue
tweaking this by keyframing some of the
| | 06:43 | different parameters and really
having fun with animating the camera and
| | 06:49 | adjusting your keyframes.
| | 06:51 | So if we deselect our replicator and
try and play things back, you may notice
| | 06:56 | things have slowed down quite a bit.
| | 06:59 | So when you're working with a replicator,
you're really going to have to utilize
| | 07:02 | Motion's different tools for
optimizing real-time playback.
| | 07:06 | So in an instance like this, I would
start by enabling a RAM Preview, Command+R.
| | 07:12 | After the RAM Preview loaded, I'd
attempt to see exactly what I'm dealing with.
| | 07:17 | Now, if something like that is kind of
slowing you down a little bit, you can go
| | 07:20 | to your Render settings.
| | 07:22 | Under Render settings, we could change
the quality down, or we could select the
| | 07:27 | replicator itself and
press Ctrl+S to solo the layer.
| | 07:32 | So when you're working in 3D,
and specifically when you're working in 3D with a
| | 07:37 | 3D replicator, make sure to optimize
your playback, but definitely have fun and
| | 07:44 | check out all the different options you
can use to customize your 3D replicator.
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| Creating particles in 3D| 00:00 | As if particles weren't already cool
enough, we can really kind of push things a
| | 00:04 | little further by taking
our particle systems into 3D.
| | 00:09 | Instead of starting from scratch,
let's convert a preset particle system to 3D.
| | 00:14 | So if you go to the Library under
Particle Emitters, I want to look at Sparkles,
| | 00:20 | and the one we're going to
work with today is Heavy Sparkles.
| | 00:25 | When you click on that you will notice
we have the bunch of particles that are
| | 00:27 | coming out and they sort of fall
down, and that is pretty perfect because we
| | 00:32 | are going to eventually match these
particles back into the 3D replicator that
| | 00:39 | we just recently created.
| | 00:40 | All right, so let's turn off those
background layers and drag our Heavy Sparks
| | 00:45 | preset right up into
this layer below the camera.
| | 00:49 | If I grab my camera and just orbit
around here, I think you'll notice that these
| | 00:56 | sparkles aren't very sparkly when we
look at them from the side; as a matter of
| | 01:01 | fact, they're pretty flat.
| | 01:04 | So to enable 3D you want to select your
particle emitter and navigate to the Inspector.
| | 01:09 | And then under the Emitter controls enable 3D.
| | 01:13 | Now if we orbit around our scene, you'll
notice these particles do exist in 3D space.
| | 01:22 | Now to take this step further, I want
to take these particles and I have them
| | 01:26 | match the replicator.
| | 01:30 | In order to do that, let's change
the particle emitter. Just like with
| | 01:33 | replicators, there is a Shape option.
| | 01:36 | So now that we have 3D
enabled, there is the Box option.
| | 01:40 | When we click Box it's going to now
increase where the particles are coming from.
| | 01:46 | It's not just creating one point and
then replicating that point with all
| | 01:50 | the particles; now they're all
getting shot out from all these different
| | 01:55 | places within the box.
| | 01:57 | Now to match this up with a replicator
a little bit better, I'm going to open
| | 02:01 | the replicator layer and select the
replicator and look at the dimensions of the box.
| | 02:08 | So we have a width of 1166 and the
height of 586, so let's set our size the same.
| | 02:15 | Okay, and then for the Z Depth we have 652.
| | 02:28 | Our systems are relatively lined up,
but I know we only have 3, 3, and 3
| | 02:35 | for this example of the replicator, so we'll
do the same thing for our particle emitter.
| | 02:42 | Just looking at the icons here you can see
that things have started lining up a little bit.
| | 02:47 | If I start to orbit around, you should
definitely notice that the particles are
| | 02:52 | in 3D space and they do directly
correspond to each of the dancers.
| | 02:58 | So now if we wanted to kind of push
things even further, we could change the
| | 03:04 | sparks in the particle emitter.
| | 03:07 | If we go to the particle emitter and
look at its options, you want to scroll
| | 03:10 | down to the Cell Controls because
the Cell Controls are where we can
| | 03:15 | actually specify the color.
| | 03:17 | This color option is here
adjusting this one cell.
| | 03:21 | So I just wanted to go to Color Over
Life, and we can still have it start this
| | 03:26 | pale yellow color, but let's have it
change to kind of a dark orange as they get
| | 03:31 | a little older, almost red,
really dark, dark orange.
| | 03:36 | To make things loud, let's enable our
background purple layer and bring down the
| | 03:41 | color of that just a little bit. We'll make
it more of a dark funky purple. There we go.
| | 03:47 | And to get a preview of what's going on,
let's disable our grid view, 3D grid, and
| | 03:54 | I want the camera to kind of spin
around our system as we get a preview, so in
| | 04:01 | order to do that, we need
to add a camera behavior.
| | 04:05 | I know we haven't covered this just
yet, but follow along: adding a camera
| | 04:08 | behavior really is not hard.
| | 04:10 | Select the camera, go to the Library,
under Behaviors choose Camera, and drag
| | 04:16 | this Sweep behavior and drop it right
on the camera. And if we jump to the
| | 04:20 | Inspector, change that end from 30 degrees to 180 degrees.
| | 04:27 | Now if we move our playhead back to
the beginning, I'm going to load up a RAM
| | 04:31 | Preview by pressing Command+R.
The reason I'm loading a RAM Preview, we are
| | 04:36 | going to be experiencing true 3D and
thousands of particles spinning around in 3D space,
| | 04:43 | so it's probably makes sense that you'd
want optimize your system for playback
| | 04:49 | just by loading this into RAM.
| | 04:51 | So once this is done, we'll check things out.
| | 04:55 | So as you can see, we've got particles
emitting out of our dancers rotating
| | 05:00 | around in 3D space, taking full
advantage of the 3D capabilities of Motion.
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| Creating text in 3D| 00:00 | Animating type inside of
Motion is definitely a fun process.
| | 00:04 | When you add 3D on top of it,
you can take something that's relatively
| | 00:09 | user-friendly and make it
amazingly dynamic while still keeping it
| | 00:14 | relatively user-friendly.
| | 00:16 | So to show you what I'm talking about,
let's animate this word STUDIO here and
| | 00:21 | open our Project panel by just pressing
F5. And in here you'll notice we have a
| | 00:27 | background layer that is
currently living in 2D space.
| | 00:32 | We have a group which contains our
studio text, which is currently living in 3D
| | 00:37 | space, and we have a camera in our scene.
| | 00:40 | So with the camera selected, if you just
orbit around the scene, I want you to see
| | 00:44 | something with this type.
| | 00:47 | Notice the type is facing the camera; no
matter where I orbit around, it's always
| | 00:53 | facing the camera. That's because
when the type was created, we went under
| | 00:58 | Inspector and in the Text section
under the Inspector, there is the option for
| | 01:04 | Text Rendering called Face Camera.
| | 01:07 | What this does is it forces the
type to always face the camera.
| | 01:11 | See, with that deselected, I can now spin
up and down, and notice I'm not seeing the
| | 01:19 | type face the camera.
| | 01:22 | So if you want to create some pretty
interesting animations, just turn on Face
| | 01:25 | Camera and then animate your camera,
fly it around the scene, do all kinds of
| | 01:30 | interesting things. You can create
something kind of fun and something funky.
| | 01:35 | I'm going to deselect Face Camera
for right now, because I want to add a
| | 01:41 | sequence behavior. I want to have this text
flip around in 3D over the sequence of the type.
| | 01:48 | Now to do that we can go to the
Library and in the Behavior section, go down
| | 01:53 | to text animation. This is one of the core
types of animation for behaviors, Sequence Text.
| | 01:59 | So if you drag that behavior right onto
the word STUDO, now you notice I have
| | 02:05 | Transform Glyph controls. And one of
things that's really cool about this is the
| | 02:10 | fact that I can
automatically start distorting my type.
| | 02:15 | Notice I clicked on the top
rotation circle of the letter S and all the
| | 02:21 | other letters moved.
| | 02:22 | Well, that's because when you have a
behavior selected and your playhead isn't
| | 02:29 | automatically at the start of the
composition, notice there are some different
| | 02:35 | options under Sequence Text, the first
one being Sequencing From. Really what's
| | 02:41 | happening, it's sequencing from whatever
transformation I sat with this Transform
| | 02:46 | Glyph tool and since the playhead
isn't all the way at the beginning of the
| | 02:50 | composition, you're not seeing the
distortion for the first letter.
| | 02:54 | So if I rotate it now, I have a
beautiful flip-up that's happening.
| | 03:00 | Now I can compound this 3D effect by
animating the camera, but I want to show
| | 03:05 | you one more way to add parameters to
the Sequence Text behavior. See, we've
| | 03:11 | already flipped this in 3D space,
but you can also go to the Parameter option
| | 03:17 | here under Sequence Text in the
Behaviors section of the Inspector.
| | 03:22 | Down here we can animate the face of
the type; or if we had an outline, we
| | 03:27 | could animate that separately; if we had glow, we
can animate that separately--you get the idea.
| | 03:33 | So for the face of the type I want to
have this kind of blur in, so let's go to
| | 03:39 | Blur and crank up the value of the blur.
| | 03:43 | Now if we move our playhead back to
the beginning, notice the text is blurry
| | 03:48 | and then it rack-focuses in.
| | 03:51 | If we want to adjust the spread of this,
just increase the Spread, and what it's
| | 03:56 | going to do is force that animation
to happen over two characters, three
| | 04:02 | characters, you get the general idea.
| | 04:05 | If you scroll down, look at all of the
different options, you can create using
| | 04:10 | Sequence Text: you can have it loop;
you can have it hold once it's finished
| | 04:15 | looping; you can have it wrap back
and forth or ping-pong back and forth,
| | 04:20 | Literally the possibilities are endless.
| | 04:23 | The biggest thing you need to remember
when animating type in 3D, you want to
| | 04:27 | have the text layer selected, go to
the Text options under Layout and pay
| | 04:32 | attention whether you have Face Camera selected.
| | 04:34 | Another thing you want to look out
for is this Render Text option.
| | 04:37 | So you can render in local 3D which will
render faster, or you can animate using
| | 04:45 | global 3D which will give
you a cleaner animation.
| | 04:48 | Now the last thing, you can flatten your text.
| | 04:52 | Now keep in mind when you flatten it any 3D
transformations that happen will be overwritten.
| | 04:58 | So when you're dealing with text in 3D
make sure you don't flatten the actual
| | 05:03 | text rendering within the text layer itself.
| | 05:06 | We've covered how to deal with text in
3D within the Text Layout options, but
| | 05:10 | also be very aware of the
group that the text resides on.
| | 05:15 | You want to make sure that that group
is a 3D layer, because if you switch that
| | 05:20 | to 2D as well, yes, you'll get the
transformation of the sequence text, but if
| | 05:26 | you go to rotate your camera around
the scene noticed nothing's happening
| | 05:30 | because this layer doesn't exist in 3D space.
| | 05:34 | See now when I enable 3D for the layer
again I can animate the camera around, and
| | 05:40 | notice I'm seeing the full effects
of the 3D transforms for the text.
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|
|
12. Controlling CamerasWorking with cameras| 00:00 | As you manipulate objects around 3D
space, I think you might find it easier to
| | 00:05 | actually use cameras to view the
different positions of these objects.
| | 00:10 | See, anytime you create 3D space in
Motion, you can create a camera and move
| | 00:16 | around that 3D space.
| | 00:18 | It's almost like being your own director.
| | 00:20 | So if we look at our project here,
you'll notice I have a 3D scene and there is a camera.
| | 00:25 | Now with that layer selected, notice I
have two different view options here.
| | 00:31 | If you're unfamiliar with the split
views, just go to this button in the upper
| | 00:34 | right-hand corner and adjust
for horizontal split views 2-up.
| | 00:39 | Now on the left-hand side
I'm viewing the actual camera,
| | 00:43 | so this is what the camera is viewing,
and I have the second window here
| | 00:48 | viewing the Perspective.
| | 00:50 | This way I can orbit around the scene
and notice I'm not moving the camera or
| | 00:55 | the lights or anything else.
| | 00:57 | Now one of the things I like to do is
have the camera actually selected, so as
| | 01:01 | I orbit around or pan through a scene,
I can see exactly where the camera is
| | 01:07 | and what its view is.
| | 01:08 | Now to manipulate the camera directly,
the first thing I recommend is opening
| | 01:13 | the HUD. Press F7 on your keyboard, and in the
HUD notice we have an option for Camera Type.
| | 01:21 | So by default, cameras are
set up as Framing cameras.
| | 01:25 | And that basically puts the controls
of the camera right here on this area of
| | 01:30 | the camera view, known as the focal plane.
| | 01:33 | Now if you increase the angle of view,
notice the camera is going to get closer
| | 01:38 | to that focal plane.
| | 01:39 | And in doing that, it'll actually
start to distort the image much like a
| | 01:43 | fisheye lens would.
| | 01:45 | One of the things I really like is the
fact that you can adjust the angle of
| | 01:48 | view and Motion will give
you the actual focal length.
| | 01:51 | So if you're familiar with things like
lenses for your DSLR cameras, you'd know
| | 01:56 | that 13.8 is a pretty darn wide angle of view.
| | 02:00 | Now I can just bring this back out here.
| | 02:02 | Let's set it to around 35 millimeters. Okay.
| | 02:06 | Now at 35 millimeters I'm actually
getting a good view of everything that's
| | 02:12 | going on in the scene,
including the camera itself.
| | 02:16 | Now as I make adjustments to this
camera, notice my upper view is refreshing,
| | 02:21 | letting me know what's going on in the scene.
| | 02:23 | Now sometimes as you move around,
you may find viewing some of the other 3D
| | 02:27 | objects a little distracting.
| | 02:29 | So what I like to do is click on one
of the alternate views and go to my View
| | 02:33 | options here and just turn off my 3D
Scene Icons only for the Camera view.
| | 02:39 | This way as I move around in my
perspective view, I can see exactly what the
| | 02:43 | camera is going to see and I don't have
to worry about being distracted by the
| | 02:47 | lights in the scene.
| | 02:48 | Now one of the great things about
working with a Framing camera is it makes
| | 02:53 | orbiting around an object extraordinarily easy.
| | 02:56 | See, if I click on any of these circles
around the outside of my control handles,
| | 03:01 | it will allow me to adjust the rotation.
| | 03:04 | And notice since I'm rotating around
the center of my focal plane, it's giving
| | 03:09 | me this beautiful arc around my scene.
| | 03:12 | So if you think you're going to want
to do some kind of arc like this around
| | 03:17 | whatever it is that's in your project,
you want to definitely look at starting
| | 03:21 | with a Framing camera.
| | 03:23 | Now the other kind of camera in
Motion is the Viewpoint camera.
| | 03:27 | And I view this just like as if I
were holding a camera on my shoulder.
| | 03:31 | See, I can bounce the camera up and
down and it'll refresh up here in the scene
| | 03:36 | and show me how the scene has moved.
| | 03:39 | But one of the things you need to be
careful of with the Viewpoint camera, as
| | 03:43 | you adjust the rotation options, notice
I'm getting a drastic change in what I
| | 03:48 | can actually see in my scene.
| | 03:51 | So if I can offer you a tip, anytime I
go to adjust the rotational values or
| | 03:56 | something, most of the time I'm
dealing with the Framing camera.
| | 03:59 | Now anytime I'm going to move the
position of the camera, a lot of times I'll
| | 04:04 | switch to the Viewpoint camera.
| | 04:06 | Now there is one other big option here
down at the bottom of the HUD I want you
| | 04:12 | to be familiar with.
| | 04:13 | And this is the Adjust Around setting.
| | 04:15 | Notice there's a pulldown, and by
default it's set up to the Local Axis.
| | 04:19 | So the way this works, let's change our
Camera Type back up to Framing, so we can
| | 04:24 | see exactly where our control points are
in the center of our focal plane, okay.
| | 04:30 | Now since I'm off at this strange
perspective angle, you can see I've got the Z
| | 04:36 | axis kind of pointing off at an angle.
| | 04:38 | It's not parallel to the
Z axis of the origin at all.
| | 04:42 | I could rotate this to
make it a little more drastic.
| | 04:45 | So as you can see, I've got my
adjustments happening here just by clicking on
| | 04:53 | the handles and rotating
things around the Framing camera.
| | 04:59 | But if you adjust around the World
Axis, watch our axis control handles.
| | 05:05 | When we choose World Axis, now the
camera will stay at that angle, but I can
| | 05:09 | move back and forth on the Z axis and it
will snap in line with the Z axis of our scene.
| | 05:16 | This is a great way if you have kind
of a cool angle and you want to just run
| | 05:20 | across a section of a scene, you could
just keyframe the position of the Framing
| | 05:25 | camera along the X axis here. Okay.
| | 05:29 | Now we've looked at World Axis and
Local Axis, the last thing I want you to pay
| | 05:34 | attention to here is the View Axis.
| | 05:36 | See, if I orbit around to the side of
the scene, notice the Z axis is still
| | 05:42 | pointed relatively close
to the Z axis of the origin.
| | 05:47 | But if I change the Adjust Around
settings to View Axis, look what happens:
| | 05:52 | now the Z axis is pointing directly at me.
| | 05:55 | This is because it's looking at my view.
| | 05:59 | So there are three different ways you
can manipulate the camera around the scene
| | 06:04 | just by adjusting the Adjust Around settings.
| | 06:08 | Now in the HUD, there are ways
you can control the camera as well.
| | 06:12 | This well back here allows me to
move back and forth along the Z axis.
| | 06:17 | The Move option allows me to pan back
and forth, up and down, throughout my scene.
| | 06:21 | You'll notice these controls function in
a very similar fashion to these controls.
| | 06:26 | You'll notice these controls work in a
somewhat similar fashion to the controls
| | 06:30 | that I've been using in the
upper-right section of the canvas.
| | 06:34 | Now there's one last thing I want you
to be familiar with with the camera
| | 06:38 | before we move on to another video,
and that has to do with these planes.
| | 06:43 | See, there's a Near Plane and a Far
Plane, and what this is going to do is
| | 06:47 | determine exactly how much of the
image the camera is actually going to see.
| | 06:52 | And that value is going to be determined based
on how far the image is away from the camera.
| | 06:58 | So if I adjust the Near Plane,
the camera is going to slowly start to crop out
| | 07:03 | the visibility of the things that are
closest and work its way back through the scene.
| | 07:08 | Now one of the interesting things, as you
adjust either of the planes, there are Fade options.
| | 07:14 | So notice here on the edge
the graphic is missing.
| | 07:18 | I could adjust the Near Fade and fade
that a little more and all of a sudden,
| | 07:22 | it'll look a lot more natural in the scene.
| | 07:25 | Now a lot of times people will do
this as a method to trick you because they
| | 07:29 | only created a solid of a certain size
but they don't want your camera to reach
| | 07:34 | all the way out to the edge of that
solid to show people that, hey, this isn't a
| | 07:39 | fully never-ending floor;
| | 07:41 | it's just this one here and it ends because
we've set up the options for the Far Plane.
| | 07:48 | So if we go to the Far Plane options,
let's drag this back to the left and
| | 07:52 | notice again the plane is moving in direct
relation to how close it is to the camera itself.
| | 07:59 | So if I drag the Far Plane into my
scene, notice it's definitely dimmed my
| | 08:05 | upper scene here a little bit.
| | 08:06 | If we adjust the Near Plane, we can
pull it back out and adjust the Far
| | 08:11 | Plane back in again.
| | 08:13 | And sure enough, we'll see the Far
Plane start cropping in on our image.
| | 08:18 | Now if that's the case, just don't panic;
| | 08:20 | increase the Fade options.
| | 08:24 | So to recap, there are two
different kinds of cameras.
| | 08:27 | There are ways of viewing exactly
what's going on in the scene with split view.
| | 08:32 | We can reset what camera we're
actually viewing things through the Camera
| | 08:37 | pulldown. And in the upper right, we
can adjust how we're viewing things by
| | 08:41 | adjusting the 3D View tools.
| | 08:44 | Now I know we've covered a lot in
terms of how to actually manipulate and
| | 08:48 | position the cameras.
| | 08:49 | One of the things I'll encourage you to
do is take some cameras, drop them into
| | 08:53 | your scene, and actually switch
between multiple cameras so you're not
| | 08:57 | constantly having to jog around the
perspective view like I've been doing for
| | 09:01 | the last few videos.
| | Collapse this transcript |
| Creating depth of field in a composition| 00:00 | Enabling depth of field will take your
projects from "Hey, that looks pretty cool"
| | 00:04 | to "Oh my goodness! Look at that!"
| | 00:07 | Last I checked that's a pretty
good thing, because honestly, any little
| | 00:11 | thing you can do to add polish to
your animations will help set you apart.
| | 00:15 | Now if we look at our project here,
you can see it's a very basic project.
| | 00:20 | All it is, we have the camera and
then we have three objects in our scene
| | 00:26 | and then one object that's kind of laying
lengthwise down the side of our scene here.
| | 00:32 | Now, depth of field is going to add
just a little bit more interest to what's
| | 00:36 | going on here, because right now I've
got her name in the background, which is
| | 00:39 | pretty large and dominant, and I've
also got her standing here. And yes, we do
| | 00:45 | have some leading lines that draw our
eyes to this general area, but there's
| | 00:49 | no dominance as to whether I should
be looking at Jess or her name or the
| | 00:54 | graphic or whatever.
| | 00:55 | So the depth of field is
going to help lead people to that.
| | 00:59 | To enable depth of field, make sure the
Camera layer is selected and then in the
| | 01:03 | Inspector, go to the Camera section.
| | 01:06 | In there we have Depth of Field
underneath the Camera Controls.
| | 01:10 | So make sure to go to the right side
of the bar and say Show if you're not
| | 01:14 | already seeing these options.
| | 01:17 | Now the fastest way to see depth of field is
to just crank up the Depth of Field Blur Amount.
| | 01:22 | I am going to crank this up to around 75
and just wait a second see what happens.
| | 01:27 | See, depth of field is
rather processor intensive.
| | 01:31 | So notice the second I dragged that,
it took a minute or two and notice
| | 01:34 | it's still blurring.
| | 01:36 | Now, we've got this cool blur, but how
do we know what's in focus and what isn't?
| | 01:42 | That's when you start adjusting
the Near Focus and the Far Focus.
| | 01:45 | So if I drag the Near Focus to the
right, notice this yellow line that pops
| | 01:50 | out to letting me know that focus is now
starting to move back closer towards my camera.
| | 01:56 | That's the near plane of focus.
| | 01:59 | We can do the same thing with Far
Focus; if we just click and drag, it starts
| | 02:03 | dragging out to the right.
| | 02:04 | Now we are doing little bit
of a faux pas here in that
| | 02:07 | we are actually using the perspective
view to figure out how the focal plane
| | 02:12 | lines up with our objects. And to be quite
truthful, you very rarely, if ever, want to do that.
| | 02:19 | Most of the times when you do things like this
| | 02:21 | you want to go ahead and lay things out
from a perspective that doesn't really
| | 02:26 | have perspective, like the top.
| | 02:29 | These are called orthographic views.
| | 02:31 | Now in the top area here notice I have
my camera and I have its angle of view,
| | 02:37 | its focal plane, its Near
Focus, and its Far Focus.
| | 02:41 | It's pretty straightforward.
| | 02:43 | Well, if I want to adjust, let's say,
do kind of a rack-focus here, the
| | 02:49 | parameter that you want to
look at moving is Focus Offset.
| | 02:52 | Notice as I drag that back to the left,
it's now bringing the focus closer
| | 02:57 | back to the camera.
| | 02:58 | Now if we drag this back out to the
right, you notice we can set focus to be
| | 03:03 | significantly farther along.
| | 03:05 | So all the while you have to
wait for the refresh to happen.
| | 03:09 | Now if you're having issues waiting
for this refresh to happen, you can go in
| | 03:14 | under your Render Settings and
change the quality from Best to Normal.
| | 03:18 | A lot of times that will
definitely help with speed.
| | 03:21 | So if I were to try and create a
rack-focus right now, what I would typically
| | 03:26 | adjust is the Focus Offset.
| | 03:28 | If I drag this back to left, again
it's going to bring sharpness to the
| | 03:32 | front part of my image.
| | 03:34 | Now this option here, Filter, as you are
first working and your kind getting your
| | 03:39 | depth of field settings set,
you want to leave this set to Gaussian.
| | 03:42 | But if you think you are going to be
away from your computer for a little while
| | 03:45 | and you know you've got a little time
for render, go ahead and change Gaussian
| | 03:49 | to Defocus before you do your final output.
| | 03:53 | So if we further analyze the camera
and its depth-of-field settings, you'll
| | 03:58 | notice that now I've got Jess kind of
sharp here in the front and now this
| | 04:03 | background color line is still leading
our eyes over towards Jess, but since her
| | 04:08 | name is out of focus
| | 04:09 | and that's slightly out of focus,
it's not nearly as distracting.
| | 04:13 | Now obviously you can see how to
keyframe each one of these parameters just by
| | 04:18 | clicking on the Add keyframe button,
but there is an actual behavior that's
| | 04:24 | set up to help do rack-focuses as well and
we will explore that later in the chapter.
| | 04:30 | But it's really important, before you
start getting into camera behaviors and
| | 04:34 | other things like that,
| | 04:35 | you have to understand exactly how to
view the camera and what elements you are
| | 04:40 | actually looking for when you're
attempting to make adjustments.
| | 04:44 | So again, if you want to draw your
attention to a specific area of the image
| | 04:49 | without necessarily having to redesign
everything, you might want to consider
| | 04:53 | enabling Depth of Field.
| | Collapse this transcript |
| Using camera behaviors| 00:00 | If you've ever struggled to animate
your camera in a 3D environment, fret not,
| | 00:07 | because there are things called camera
behaviors, and they do nothing less than
| | 00:11 | make your camera actually
behave. It's truly amazing.
| | 00:15 | I know I sound completely ridiculous
right now, but honestly, if you've ever
| | 00:19 | struggled with moving your camera in a 3D
environment this will change how you view things.
| | 00:24 | So let's get started by
scrubbing through our project here.
| | 00:28 | And you'll notice I've just got a
couple of spheres in 3D space, and as I scrub
| | 00:34 | through here, we've got some letters that
are kind of floating up that reveal our
| | 00:38 | title, saying "Everybody Dance Now."
| | 00:40 | Now I could definitely load this up
into a RAM Preview, but I just wanted to
| | 00:45 | see if everything was staying
relatively the same in terms of where it is
| | 00:50 | within the environment.
| | 00:52 | The reason I wanted to know that, we're
going to fly this camera in towards the
| | 00:56 | scene and then we're going to have
it kind of spin around to the left.
| | 01:00 | Now using keyframes we could
definitely do this, but you know when you change
| | 01:05 | directions with keyframes sometimes
there are some funny things that can happen:
| | 01:09 | keyframe interpolation
shifts, all kinds of things.
| | 01:12 | So let's check out how
behaviors can handle this.
| | 01:16 | First let's work on the move in.
| | 01:19 | Now since the camera's already
relatively close to where I wanted it to be in
| | 01:24 | when we start to spin, I'm going to
select the camera and just move it back out.
| | 01:29 | Now as I'm looking at this, I'm kind
of wondering if that orientation is
| | 01:33 | correct for this camera.
| | 01:35 | So let's open up the HUD, and notice
it's set up as a Framing camera, that's
| | 01:41 | fine, but ah, okay, here it's set to
adjust around the World Axis and I want it to
| | 01:47 | move on a Local Axis,
| | 01:49 | meaning, as I move it back in Z space,
I just wanted to move straight out in the
| | 01:54 | direction of the camera.
| | 01:56 | Now if you're having problems with
how slow the refresh is on your system,
| | 02:02 | you want to go up to your Render
settings and change your Resolution from
| | 02:06 | Full to let's say Half.
| | 02:09 | And honestly, we don't really need the
shadows or the reflections just yet,
| | 02:15 | because all we're working on is the move in.
| | 02:18 | So go ahead and feel free to turn
those off, and now we can work on applying
| | 02:24 | our camera behavior.
| | 02:26 | If you go to the Library tab--and let
me close my HUD here--go to the Camera
| | 02:31 | section of the Behaviors, you'll see we
have Dolly, and this moves the camera
| | 02:36 | forward or backwards in 3D along its Z axis.
| | 02:40 | Well, as luck would have it,
| | 02:41 | it's definitely pointed
to the scene on its Z axis.
| | 02:44 | So let's drag and drop the Dolly
behavior right there onto the camera.
| | 02:49 | Now notice when we applied the
Dolly behavior it automatically went the
| | 02:54 | length of our comp.
| | 02:55 | Now I don't want this Dolly to go over
the entire length of the comp, so I'm
| | 02:59 | just going to drag the right edge of
the behavior and drag it back to the left.
| | 03:04 | Now notice as I did that it actually
sleet the entire layer, which isn't
| | 03:08 | quite what I want to do.
| | 03:09 | So I'm just going to undo those last
two moves, and I'll move my playhead down
| | 03:13 | to around 2 seconds in the Timeline and
just press O. That way it trims the out
| | 03:20 | point of that Dolly move.
| | 03:22 | Now if you scrub through and notice
there is no move happening, it's probably
| | 03:26 | because we haven't set a
value for this Dolly move.
| | 03:30 | So if we open the HUD, notice, yeah,
we have Distance is set to 0 and the
| | 03:35 | Speed is set to Constant.
| | 03:36 | Well, let's make this move in, so
we'll drag towards the right in a positive
| | 03:43 | value, and let's place our
playhead towards the end of the behavior.
| | 03:47 | That way we can see exactly
where it's going to be when it stops.
| | 03:51 | Now one of the nice things about the
Dolly behavior, the fact that when it does
| | 03:54 | stop the camera stays exactly where
it was at the end of the behavior.
| | 03:59 | That's a really good thing.
| | 04:00 | So just so our playhead is right at
the end of the out, I'm going to press
| | 04:03 | Shift+O, and that will
move our playhead right there.
| | 04:07 | Now I'm just going to zoom in a little bit more.
| | 04:10 | So when you have a situation like
this where the zoom is kind of moving
| | 04:13 | drastically if you hold down Option
and just click on the left or right side,
| | 04:18 | you'll get to move in one-point increments.
| | 04:23 | That's one way of
scrubbing a little more slowly.
| | 04:25 | Now this is looking relatively
okay, so I'll just leave this alone.
| | 04:30 | The only other thing, typically speeds
set to Constant look very robotic, and
| | 04:36 | that's not what we want.
| | 04:37 | So let's adjust the Speed to Ease Both.
| | 04:40 | So what that's going to do is make it
move much more like a car. When you leave
| | 04:44 | a stop light, you accelerate, and then
when you hit the next one you just slow
| | 04:47 | back down again or, at least I hope so.
| | 04:49 | All right, so let me close the camera
dolly and we can load up a quick RAM
| | 04:55 | Preview here, just to see
what we're dealing with.
| | 04:57 | I'm just going to press Command+R,
and notice when I press Command+R it's loading
| | 05:01 | up a RAM Preview of my active
view, which is this one down here.
| | 05:05 | So I'm not really going to see what
the camera is doing, but that's fine.
| | 05:08 | I'll get to see its overall movement
kind of as a third-party viewer.
| | 05:13 | So yeah, that looks pretty neat.
| | 05:15 | Now I want the camera to start
spinning around towards its left.
| | 05:20 | Now to do that, in the camera
behaviors, we can do a sweep.
| | 05:25 | A sweep rotates a camera around an axis.
| | 05:28 | Well, let's apply it. Drag and drop it
right to the camera, and since I want
| | 05:33 | this to actually start towards the
end of the dolly, I'll select the Dolly
| | 05:39 | behavior and press Shift+O to move my
playhead there, and we can select the
| | 05:44 | Sweep Behavior and press I to trim the in point.
| | 05:48 | Now I do want there to be
a little bit of an overlap,
| | 05:51 | so I'll just drag the sweep back to
the left, and notice on the right-hand
| | 05:55 | side of those values. It's letting me know
exactly how many frames I'm overlapping here.
| | 06:00 | So our composition is 29.97 frames,
so I'll have it have a 15-frame overlap, which
| | 06:08 | will be roughly a half a second.
| | 06:10 | Now notice the sweep is
headed in the wrong direction.
| | 06:15 | So we can fix that easily enough by
pressing F7 and instead of having it end at
| | 06:21 | 30 degrees, we'll have it end at -30 degrees.
| | 06:25 | Okay, again with the Speed, we will
Ease Both, and as I'm looking at this, I am
| | 06:32 | realizing that we might need to do a
little bit of a tweak to our move, but I
| | 06:37 | think so far we're doing okay.
| | 06:38 | Now this time I want to see
exactly what the camera is going to see.
| | 06:42 | So let's select the Active Camera and
press Command+R to load up a RAM Preview.
| | 06:46 | All right, so now that our RAM Preview
is loaded, we can go ahead and check this
| | 06:50 | out and move the mouse here.
| | 06:52 | Well, that's looking kind of interesting.
| | 06:56 | The only issue, the type is
floating out of the scene.
| | 07:01 | Now there are two ways I could fix this.
| | 07:02 | I could sit here and keep tweaking with
the camera behaviors, or I could just as
| | 07:07 | easily select the type layers
and shift them over to the left.
| | 07:13 | Now since the last set of behaviors
worked out so well, why don't we not
| | 07:18 | chicken out and actually apply one
more behavior to make sure that we get this
| | 07:24 | animation set up the way that we want?
| | 07:26 | I want to use the Framing behavior, so let's
drag and drop that right on top of the camera.
| | 07:31 | Now, for the framing what I want
to do is frame our type layer.
| | 07:37 | So I'm going to drag the type layer by
clicking on it in the Layers panel and
| | 07:41 | drop it right down here in the Target well.
| | 07:44 | Now when I do that,
that's going to frame my key subject.
| | 07:48 | Now you can set a bunch of different
options as far as how it's going to frame
| | 07:54 | its orientation, you can adjust the
transition, but let's just see what happens
| | 07:59 | with this default setting.
| | 08:01 | Move our playhead back to the beginning,
| | 08:03 | press Command+R, load up one last
RAM Preview and see what our scene
| | 08:08 | actually looks like.
| | 08:09 | And I think you'll be kind of
surprised to see exactly what happens.
| | 08:14 | Now it's kind of given us this funky
pop, and the reason it's done that, it's
| | 08:19 | kind of fighting between the different
options, and also the Transition is set to Constant.
| | 08:26 | Now if we adjust that, I think we could
probably tweak this a little bit more.
| | 08:32 | So let's Ease Both and if we let
Motion keep playing back, we'll actually get a
| | 08:37 | little bit of a preview, so we can
see exactly what's happening here.
| | 08:41 | And now you notice, yeah, I still have that pop,
but it's not nearly as bad as it used to be.
| | 08:48 | If we just adjust maybe the Position Transition
Time, maybe it won't be so bad. So here we go.
| | 08:59 | Cool! Let's adjust the Rotation Transition Time.
| | 09:02 | Let's have it rotate a little later.
| | 09:03 | Okay, and then lastly, we
can adjust the ease-out time.
| | 09:14 | That will be how it eases out of this behavior.
| | 09:19 | Now notice it framed the specific text
itself, and as the text is rising, it's
| | 09:26 | making the camera rise.
| | 09:27 | So it's a pretty interesting behavior,
but it is something that can definitely
| | 09:32 | be of service when you've got a basic
move set up and you want to tweak things
| | 09:37 | just a little bit more.
| | 09:38 | As you can see, when you start working
with cameras and behaviors, even if you
| | 09:43 | layer them one right on top of the
other, you can definitely get some pretty
| | 09:47 | amazing animation results with
just a little bit of drag-and-drop.
| | Collapse this transcript |
| Create interest with the Focus behavior| 00:00 | The Focus behavior is one of those
things that take something that used to be
| | 00:04 | rather tedious and makes it pretty brainless.
| | 00:08 | Honestly, once you've got your depth of
field set up with your camera, applying
| | 00:12 | the Focus behavior is literally
just a matter of drag-and-drop and just
| | 00:17 | trimming your outpoints.
| | 00:18 | So to show you what I am talking
about, let's look at our project here.
| | 00:22 | Now notice I have it set up with a two-view up.
| | 00:25 | I want you to be able to see the
overhead view of what's going on in the scene,
| | 00:29 | so you can see the exact depth, as far as the
distance each object is away from the camera.
| | 00:36 | This is the edge of our camera right here.
| | 00:38 | If I zoom back out here, you can
see the full range of what the camera
| | 00:43 | is actually seeing.
| | 00:47 | But if we go back and check out our
Library, we can find, under Behaviors, under
| | 00:55 | Camera, there is the Focus behavior.
| | 00:58 | Now the definition says it changes
the focal distance of a camera to stay
| | 01:02 | focused on an object, and that's pretty much it.
| | 01:05 | So if we drag this Focus behavior and
drop it right onto the camera, it's going
| | 01:10 | to take a second to process, but once it
processes that behavior then it's going
| | 01:15 | be asking us, which object
would we like it to focus on?
| | 01:20 | So if you are unfamiliar with setting
up depth of field, you want to definitely
| | 01:25 | look a little earlier in this chapter
and look at the video on depth of field
| | 01:30 | because I'll show you how this got set
up and how it's all represented, but for
| | 01:35 | now, let's deal with the behavior.
| | 01:38 | So now that the Behavior is applied,
all you have to do is press F7 to open up
| | 01:42 | the HUD and get your drop well.
| | 01:45 | So in here there's a drop on next to the Target.
| | 01:49 | So what's going to be the target?
| | 01:50 | Well, I want this word DANCE in
the background to be in focus.
| | 01:55 | So if we open our graphics group and
move the HUD down a little bit, you can see
| | 02:00 | there's our DANCE layer.
| | 02:02 | So if we drag it and drop it right
over our drop well, you'll see the curved
| | 02:06 | arrow letting us know that
it can be dropped in there.
| | 02:09 | And it will take a second
and then figure out, okay,
| | 02:12 | that's what we want to focus on.
| | 02:15 | Just so you can see how the scene is
set up, you can see the word DANCE right
| | 02:20 | there in the top section--here let me
zoom in just a little bit, so you can
| | 02:23 | see a little better.
| | 02:24 | You can see the word DANCE in there, but if we
go and look at our dancer, she's right here.
| | 02:32 | The amount of space between this word
and our dancer isn't that much, but when
| | 02:39 | you're talking about a shallow depth
of field, it will make a difference.
| | 02:44 | So, when you have the camera selected,
I want you to notice these three planes.
| | 02:50 | These were created by
adjusting the focus on the camera.
| | 02:54 | So I am going to close the HUD and
just open the Inspector here. And under
| | 03:00 | the Camera options for the Inspector, here
we have Focus Offset, Near Focus, Far Focus.
| | 03:07 | The Near Focus is this plane right
here; the Far Focus is that plane.
| | 03:11 | This right here in the
middle is your Focus frame.
| | 03:15 | It's exactly what's going to be in focus.
| | 03:18 | If we go ahead and play this animation,
it's going to transition the focus from
| | 03:24 | our dancer here to that word.
| | 03:26 | Look at how long the behavior is taking.
| | 03:29 | It's going to take the entire composition.
| | 03:31 | And if we look at the options for the
behavior, notice the Transition is set to 50%.
| | 03:37 | What that means is, at 50% of the time
it takes to create this entire behavior,
| | 03:43 | that's one that's actually going to be in focus.
| | 03:46 | So our word DANCE should be in focus about
halfway through the length of this behavior.
| | 03:55 | So of we drag our playhead right to the
middle of the composition, notice that's
| | 04:00 | when the focus stops moving.
| | 04:04 | If I let go the playhead and just
wait for a second, eventually the active
| | 04:08 | camera will refresh and you'll see that
our dancer will be out of focus and the
| | 04:13 | word DANCE will be in focus.
| | 04:15 | When you have something that's
this blurry, once that blur actually
| | 04:19 | happens, when you have something
that's this blurry, you can actually play
| | 04:23 | some games with the scene.
| | 04:26 | What I mean by that, if we wanted to get
a little silly with this animation, we
| | 04:30 | could have it focus back on the word
DANCE and then we could literally cut from
| | 04:35 | an animation of one silhouette
dancing to about ten silhouettes dancing.
| | 04:40 | And then when we focus back, instead of
it being one person dancing, it would
| | 04:43 | be ten people dancing.
| | 04:45 | So it's kind of fun to play with your Focus
options when you have stuff like that set up.
| | 04:52 | Since our person is directly in front
of the word DANCE, another thing I would
| | 04:57 | like to do is actually just
keyframe her opacity here,
| | 05:02 | so when the focus shifts to the word
DANCE, she's a little more transparent.
| | 05:09 | One thing I want to set with our
Focus behavior before we check out our RAM
| | 05:13 | Preview here, if you go to Speed options,
change it from Constant to Ease Both.
| | 05:19 | This way as it adjusts the focus from
the foreground to the background, it's not
| | 05:24 | just going to snap into focus.
| | 05:26 | It will look like a smooth transition
to and from a starting and stopping point.
| | 05:33 | To keyframe our opacity, I'll just
turn on Automatic Keyframing, move my
| | 05:37 | playhead to the beginning, and select
our DANCER layer. And in the Properties
| | 05:43 | area, we will just slide
the Opacity up and down.
| | 05:48 | And then right about here, halfway in
our composition, we will bring the Opacity
| | 05:54 | for the dancer down.
| | 05:56 | Now I can turn off my Automatic
Keyframing and even though things
| | 06:00 | haven't refreshed in my window, I am just
going to move my playhead back to the beginning.
| | 06:05 | Make sure to select the camera and
now if we change to a one-up view, we can
| | 06:12 | go ahead and run a RAM Preview and
check out exactly what's happening with
| | 06:17 | our Focus behavior.
| | 06:18 | We've just finished our RAM Preview,
so I'm going to deselect our video layer,
| | 06:24 | just so we don't have the control
handles, and press the spacebar, so we can see
| | 06:28 | what our rack focus looks like.
| | 06:30 | I think it looks pretty good.
| | 06:37 | Now understand, when you're working with
the Focus behavior--I am going to go to
| | 06:41 | the Behaviors section,
so you can check this out--
| | 06:43 | there is the option to control the focus,
which makes perfect sense. But in terms
| | 06:49 | of the actual camera blurring the
image through the different options for the
| | 06:54 | depth of field, there are settings
under the Camera settings under Depth of
| | 06:59 | Field for the Filter.
| | 07:01 | Now the reason I am bringing this up,
when I click on this pulldown there is an
| | 07:04 | option for Gaussian and Defocus.
| | 07:07 | As I'm working with anything that has to
do with depth of field, usually I leave
| | 07:11 | this set to Gaussian, but if I were
going to export this, I would change this
| | 07:15 | filter from Gaussian to Defocus,
| | 07:17 | So I could get a slightly different
bokeh, or blur, to the image, and it just makes
| | 07:22 | it look that much more
like a real camera rack-focus.
| | Collapse this transcript |
| Animating cameras with camera framing| 00:00 | Camera framing doesn't really sound
that exciting, but I have to say that it is
| | 00:05 | one of the true unsung heroes of Motion.
| | 00:08 | Anytime you build some graphics and
you need to tie two different elements
| | 00:13 | together and they exist in completely
different spaces in 3D space, you might
| | 00:18 | want to try using the Camera Framing behavior.
| | 00:21 | If we look at our project here,
you'll notice I have two cameras set up.
| | 00:25 | The reason I have two cameras,
| | 00:27 | I have one set up so I can just easily
switch back to an overview of all the
| | 00:32 | graphics I have in the project.
| | 00:34 | So if we go to our Camera pulldown
here in the upper-left corner of the
| | 00:38 | Canvas, notice I have Active Camera, a
camera called OutsideView, and then a
| | 00:43 | camera called Camera.
| | 00:45 | Usually I leave one camera called Camera,
and that's the one that I use for my
| | 00:50 | final output, and then any of the
other cameras that I name I just name them
| | 00:56 | basically what I think they are.
| | 00:57 | So this is kind of like an OutsideView of
everything that's going on in the scene.
| | 01:01 | Now, we can't see this because we need
to press Shift+Z to resize the Canvas,
| | 01:06 | and here you can see I've got one
cluster of graphics that my camera is looking
| | 01:12 | at, and I then I have another
cluster of graphics that are over here.
| | 01:16 | Now, I need to do a camera move
from this point to that point.
| | 01:21 | The cool thing about this, I am
going to do this move without using any
| | 01:25 | traditional keyframes.
| | 01:26 | We'll do this just using a behavior.
| | 01:29 | But before we do that, let's make sure
we're actually in the right camera view, so
| | 01:33 | we can see exactly what we're
going to be applying our behavior to.
| | 01:37 | So let's switch back to our camera view
here, and now we can go to our Library,
| | 01:44 | under Behaviors.
Under Camera, let's choose Framing.
| | 01:50 | Just drag and drop it right to
the camera that we're on right now.
| | 01:54 | Now, the Framing behavior when you
first apply it seems pretty innocent. If you
| | 01:58 | go to the Inspector here, under
Behaviors, it just gives you a target, and then
| | 02:02 | there are a couple of different options here.
| | 02:04 | But once we start expanding these options,
you'll notice how things continue to just grow.
| | 02:10 | The Target, let's choose what we
want our camera to animate towards.
| | 02:14 | Now, you notice the second I clicked off the
behavior, I can no longer specify that well.
| | 02:21 | So let's select the behavior and lock
this window by clicking this lock here.
| | 02:29 | Now I still have access to this drop
well next to the target, no matter what I
| | 02:34 | select in my Layers panel.
| | 02:36 | So here I want to move to this vertical
layout of the graphic, so I'll drag that
| | 02:41 | and drop it right into my Target well.
| | 02:44 | And as you can see, the move
has already started to happen.
| | 02:49 | I have my playhead here at 22 frames,
and it automatically started to try and
| | 02:54 | create a move between the two graphics.
| | 02:57 | And it did a pretty good job, other than the
fact that this is not the right orientation.
| | 03:03 | So to fix that, we can make
adjustments to the Target Face or the Up Vector.
| | 03:09 | The Target Face, this is just telling me
what axis is pointed towards the camera.
| | 03:17 | And right now the front is the +z value,
which is correct, so I'll leave that alone.
| | 03:23 | Let's look at the Up Vector.
| | 03:25 | You can set the Up Vector based on the
target, which is what we're looking at
| | 03:29 | here, and/or the World, which is
in orientation to this grid here.
| | 03:37 | Let's start with the target.
| | 03:39 | As I'm looking at the target's control
handles, as we look at our target, notice
| | 03:45 | how the handles are oriented.
| | 03:48 | See, I have X and Y here, and I can
kind of see that green is Y, because this
| | 03:54 | is a rotation handle and it's always going
to be in the middle of these three circles.
| | 04:00 | So the X axis is pointed down,
which is a negative value.
| | 04:04 | So let's start by choosing Target -X
and see what happens. And sure enough, our
| | 04:10 | deductive reasoning has figured it out.
| | 04:13 | Now, if we scrub with our playhead back
towards the beginning here, notice the
| | 04:17 | animation actually kind of works.
| | 04:21 | We could load up a RAM Preview of this
and see what things look like, so why not?
| | 04:27 | Just pressing Command+R, and pretty
quickly here our system will load up the RAM
| | 04:33 | Preview, and we can check out
exactly what things look like. All right!
| | 04:38 | Let's check it out.
| | 04:45 | Hey, that's looking pretty cool.
| | 04:48 | I sort of like this move,
but we can definitely tweak things.
| | 04:52 | It's a little too linear for my personal taste,
| | 04:54 | so what I am going to do is pause
playback here for a second and get kind of the
| | 04:59 | bird's-eye view by switching our
cameras back to this OutsideView camera.
| | 05:03 | Now, if we select our camera that
contains the behavior, we'll see what the
| | 05:08 | camera looks like here in our Canvas.
| | 05:12 | Now, don't panic if you start getting
the pinwheel; it just means that the
| | 05:16 | project is rendering all these little
particles and things that are in each one
| | 05:21 | of these graphic builds.
| | 05:23 | You can see the arc of our animation.
| | 05:27 | Now, you can adjust the Framing Offset.
| | 05:29 | The Framing Offset just adjusts the final
placement of the camera as it frames the object.
| | 05:36 | I liked how that was set up,
so I am going to leave it alone.
| | 05:39 | One thing you might want to
look at is this Path Offset.
| | 05:42 | See, this is a motion path that was
created and if we adjust the offset by
| | 05:48 | clicking and dragging on one of
the numbers, let's click and drag--
| | 05:51 | I'm dragging to the right here--and
we'll click and drag the Y axis to offset
| | 05:58 | to a value of 2000.
| | 05:59 | Let's just see what this looks like.
| | 06:02 | Now, it's going to take a
second to render the scene,
| | 06:05 | but you should notice a significant
difference in how the animation actually happens.
| | 06:11 | Notice now I'm getting
this kind of crazy animation.
| | 06:14 | And if we scrub through, you'll see the
camera kind of spins up and then orients
| | 06:19 | down. It kind of gives that a
crazy roller-coaster effect.
| | 06:22 | Now, to see what this looks like, we
can just switch back to our camera view
| | 06:25 | here, and rather than loading up a RAM
Preview, let's just go ahead and see if
| | 06:30 | we can watch a playback to see exactly what it
looks like, just by pressing the play button.
| | 06:39 | Now, up in upper-left corner here I'm looking,
| | 06:41 | it's only showing me 6, 7, 8 frames a second.
| | 06:45 | I think that that's kind of cool how it
landed sort of harsh, but I really don't
| | 06:49 | like how it's out in the purple by
itself for an extended period of time.
| | 06:53 | So I'll just stop that playback here
and switch back to my OutsideView camera
| | 07:00 | and change my Path Offset
on the Y axis back to 0.
| | 07:04 | Obviously, this Path Offset at 2000 was
a little ridiculous, but I just kind of
| | 07:10 | wanted to show you how much you can
adjust the actual move of the camera itself
| | 07:15 | by adjusting the Path Offset
parameters, so I'll set this back to 0 here.
| | 07:20 | For the Orientation, you can have
it set to Orient to Current, which is
| | 07:25 | currently how it's trying to
orient the scene, or Orient to Final.
| | 07:30 | Let's see what the difference is.
| | 07:32 | See, when you say Orient to Final,
what it's going to try and do is get that
| | 07:36 | orientation as close to the final placement as
it can, slightly before the final transition.
| | 07:46 | So here, notice the camera is tilting
and orienting rather quickly because,
| | 07:52 | again, it's trying to get that
final point a little more quickly.
| | 07:59 | I'll leave this set up like this, but I
want to adjust the Position Transition
| | 08:04 | Time and the Rotation Time.
| | 08:06 | Let's drag the Position
Transition Time back down to the left.
| | 08:11 | What these percentages refer to are how long
it takes to actually get to that transition.
| | 08:18 | For example, that means a value of 50%
means the overall length of this behavior--
| | 08:24 | let's say it's 10 seconds--at 50%
Transition Time, at 5 seconds it will reach
| | 08:32 | where it's supposed to be.
| | 08:34 | Now, if I make this faster by choosing
a smaller number, notice we'll get this
| | 08:39 | kind of crazy jerk that
happens here in the scene.
| | 08:43 | So instead of making the position move
faster, let's make it move a little bit
| | 08:48 | slower, and we'll have the
rotation move a little bit faster.
| | 08:52 | This way we'll see the camera start to
rotate before the move actually starts to happen.
| | 08:58 | Notice we get a nice arc here and the
camera looks like it's kind of peeling out.
| | 09:02 | This will give us more of kind of like
a dog-fighter view, where the plane is
| | 09:06 | just sort of banking really
hard to get to our next view.
| | 09:11 | Let's preview what this looks like
really quickly by switching our cameras back
| | 09:16 | from the OutsideView to the Camera view.
| | 09:23 | If we move our playhead back to the
beginning, we can watch a preview of our
| | 09:26 | animation. And notice the rotation
is what's happening first and then the
| | 09:33 | position, and we're getting this kind
of more flight-like pattern as we zoom
| | 09:38 | right into our graphic.
| | 09:41 | I don't like how it just kind of
slapped to where it was, and that's when I can
| | 09:47 | turn around and adjust
the offset of the path apex.
| | 09:51 | But as you can see, I can sit here
and make adjustments to this all day.
| | 09:56 | The one thing that I do want to tell
you before we wrap this up is, make sure
| | 10:02 | and pay attention to the transition.
| | 10:04 | Most of the time when you're trying
to create an animation, whether it's a
| | 10:08 | camera move or something moving in the
scene, you don't want this really harsh
| | 10:13 | transition unless you're trying to
create something rather mechanical.
| | 10:16 | So most of the time when I do these
framing moves, one of the first things I'll
| | 10:21 | do is adjust the Transition to Ease Both.
| | 10:24 | Then you can look at Ease Out Time or
the Ease Out Curve and see exactly how
| | 10:29 | smooth the transition is as it eases out of
being still and back into its final placement.
| | 10:36 | So to wrap up, the Framing behavior
does have a lot of different options.
| | 10:41 | Just to understand, when you get
ready to start working with the Framing
| | 10:44 | behavior, you might want to go to your
Render options and adjust the Resolution
| | 10:48 | down, or the Quality, down a little bit,
so as you make your changes, you can get
| | 10:53 | more real-time previews
happening faster and faster.
| | Collapse this transcript |
|
|
13. Working with AudioAdding and adjusting audio| 00:00 | Now if you're looking at this project,
you might be thinking to yourself, wow,
| | 00:05 | that is a really dark,
dark Canvas, and yes, it is.
| | 00:09 | It's honestly one of the most intimidating
things that just about any designer can face.
| | 00:15 | The limitless possibilities
that get created by a blank Canvas.
| | 00:20 | So, a lot of times, if I'm stuck, like a
client goes, "Yeah, uh, make something cool,"
| | 00:26 | first I'll look at them like they
have lost their mind, but secondly I'll
| | 00:29 | probably get a little excited, because
that generally means I get to do pretty
| | 00:33 | much whatever I want.
| | 00:34 | Now the reason I'm talking about this
in the audio chapter, I personally like
| | 00:38 | to use audio to inspire my visuals, kind of
like MTV, when they used to play music videos.
| | 00:44 | So now what we are going to do is create
our own little visuals to match up with
| | 00:50 | some audio, but before we do that,
we need to actually get some audio into our
| | 00:54 | projects and get comfortable editing it.
| | 00:57 | So if you navigate in your exercise
files, in the Media folder, under Footage,
| | 01:03 | you'll find a folder for Music,
and in here we have two WAV files.
| | 01:08 | Now, Motion supports uncompressed
formats like WAV and AIF, and it definitely
| | 01:14 | supports AAC as well.
| | 01:16 | Just understand, if you bought a track
on iTunes that was copy protected--not
| | 01:22 | iTunes Plus, but the original iTunes--
you probably won't be able to import it
| | 01:27 | into your project, because it's
copy managed, but in general when you're working
| | 01:32 | with audio, you want to try and work
with uncompressed audio sources anyway.
| | 01:36 | So that's why we're
working with these WAV files.
| | 01:39 | Now, you notice there is an audio setting for
this 44 1 16-bit Stereo, same with this one.
| | 01:46 | Now up in the top of our File
Browser, you can also preview the audio.
| | 01:50 | If you just hover your mouse over the
window, you can press Play and listen and
| | 01:56 | if you're not hearing anything,
you want to Click this button.
| | 01:59 | (music playing)
| | 02:06 | Okay, you get the general idea.
| | 02:08 | You can do the same thing for the other clip.
(music playing)
| | 02:16 | So this is just muting the
playback of the actual clip up here.
| | 02:21 | The reason you may want to mute this,
sometimes when you're kind of messing
| | 02:24 | around and browsing through
different files you may not necessarily want
| | 02:28 | to listen to all of the different
things that Motion will automatically
| | 02:32 | start playing for you,
| | 02:33 | so that's why you've
separate controls like that.
| | 02:36 | Now, I can import audio a couple of ways.
| | 02:38 | We can select the WAV file and then
drag and drop it right into the Canvas.
| | 02:43 | That's honestly the one way
I recommend you work with audio.
| | 02:48 | The reason being this:
| | 02:49 | if you drag and drop something
directly into the Canvas and there is no video
| | 02:53 | applied, it will just drop
the audio wherever it can go.
| | 02:57 | Now, I have my project set up so any
piece of footage that I drag into the
| | 03:02 | Canvas will automatically start
at the start of the composition.
| | 03:07 | Now, if you didn't change your Motion
preference for that, just jump into the
| | 03:11 | Motion > Preferences section for a
quick second, and then I believe it's under
| | 03:16 | the Project settings.
| | 03:18 | You want to go to Create Layers At and
make sure Start of project is selected.
| | 03:24 | This way if for some reason you know I
had the playhead parked down here and I
| | 03:29 | dragged my audio clip in, it would
still put it at the head of our composition.
| | 03:34 | Now what if I want to
drop a second audio track in?
| | 03:37 | Well, I can definitely do that, but let's
preview the audio that's in our comp right now.
| | 03:42 | I'm just going to make sure we have the Timeline
area over here selected and press my spacebar.
| | 03:47 | (music playing)
| | 03:53 | So as you can see, I'm hearing the audio.
| | 03:55 | If you couldn't hear the audio,
you want to make sure this button down here is
| | 03:59 | active in the lower-left section.
| | 04:01 | Now if you want to actually see your
audio tracks, open up the Timing panel by
| | 04:05 | pressing F6, and you should see
audio down here in the bottom.
| | 04:10 | If you don't, you want to go to the
lower-right corner of the interface and make
| | 04:14 | sure that audio is enabled,
so you can actually see it.
| | 04:18 | Now if you right-click on the audio
track, you can make sure that it's active
| | 04:24 | you can mute it, or you can even solo
the audio track. Or if you choose Reveal
| | 04:28 | Source Media, what it will do is open
up the Media tab and allow you to select
| | 04:34 | the audio track, so you can check it
out in the Media section of the Inspector.
| | 04:39 | See, here is where I can actually
browse and see all the information
| | 04:43 | associated with that file.
| | 04:45 | Now there is one more tab here in the
Layers pane, and that's the Audio tab.
| | 04:50 | Under Audio, let's collapse the
Inspector for now, press Command+3 and this way
| | 04:58 | I can drag out to the right and just
make sure I have enough room for my audio.
| | 05:02 | If you look at the Audio section here,
I can drag the volume down or up for the
| | 05:09 | individual track, and I have
volume control for the Master track.
| | 05:14 | Now adjusting this or adjusting that
really doesn't make a difference when you
| | 05:18 | only have one track.
| | 05:21 | So let's add a second track.
| | 05:22 | I'm going to press Command+1 to open
up my File Browser again, and this time
| | 05:26 | when I drag the WAV file in,
I'll drag it right to the Audio tab.
| | 05:31 | Now when I let go, that, too, is
going to be added to my Timeline.
| | 05:36 | Now if I press the spacebar, you'll hear
both audio tracks right over top of each other.
| | 05:41 | (music playing)
| | 05:47 | So we could go in here and actually
adjust the volume of each individual track
| | 05:52 | and decide what we want, and what we
don't want, or we can just adjust the
| | 05:57 | overall volume down here with my Master track.
| | 06:01 | These buttons here control the pan,
so you can pan the audio to the left
| | 06:05 | channel, or you can pan it back to
the right channel. I'm just clicking and
| | 06:08 | dragging up and down to have that move around.
(music playing)
| | 06:19 | There, we are not seeing much of a
difference with this, and that's just because
| | 06:23 | they're all mixed to one specific 50%
for both, but you get the general idea as
| | 06:30 | to how to make adjustments
here within the Audio section.
| | 06:34 | Let's look down here in the Timeline.
| | 06:36 | Now you can slide audio in the
Timeline just by clicking and dragging on
| | 06:41 | it, and it works just like video.
As you click and drag, you'll get these
| | 06:45 | wonderful contextual menus that pop
up and let you know exactly how far
| | 06:49 | you've dragged that clip.
| | 06:51 | Now what if you want to fade
from one audio track to another?
| | 06:55 | Well, there is no behavior just for fade for
audio, but there is the option of keyframing.
| | 07:01 | So, let's see where we're at right now.
(music playing)
| | 07:09 | So things are all over the map.
| | 07:11 | Let's just drag and see
if we can get this closer.
| | 07:14 | (music playing)
| | 07:30 | So as you can see, there is a fair
amount of editing that can be done as you're
| | 07:40 | working with the audio,
but to fade from one to another,
| | 07:43 | let's move our playhead to
the beginning of a track.
| | 07:47 | Now, if I hold Shift as I drag,
notice the playhead will snap right to the
| | 07:52 | beginning of that audio track.
| | 07:54 | Now we can enable automatic keyframing and
with this faze track selected in my Audio section,
| | 08:01 | I can go up here and drag down.
| | 08:03 | Notice my keyframe was added.
| | 08:06 | Now if I move my playhead further down
the Timeline and just drag my audio up,
| | 08:11 | you'll notice now I just did a fade-in.
| | 08:15 | Now to fade out the other audio track,
I'll just select that audio track here
| | 08:19 | and do a quick scrub.
| | 08:22 | Let's scrub that up, and then we'll
move our playhead back to the beginning, and
| | 08:27 | we'll scrub this down.
| | 08:28 | Now, I actually did this in
reverse. I've got two fades.
| | 08:32 | So you can actually just drag keyframes
out and over top of each other just by
| | 08:38 | clicking and dragging with your mouse.
| | 08:41 | Now, I can trim that out point of this second
audio track, because it's not loud anymore.
| | 08:47 | So just press O and that
will trim that outpoint.
| | 08:51 | So now if I play from the beginning,
you'll hear just a quick a little bit of
| | 08:55 | this first Hiphop track,
and then it will fade into the next one.
| | 08:59 | (music playing)
| | 09:05 | Not quite Friday night at the
club, but I think you get the idea.
| | 09:09 | So when it comes to actually editing
audio inside Motion, it does have some
| | 09:15 | decent capabilities.
| | 09:17 | Honestly, I just like to use it for inspiration.
| | 09:19 | So, the next time you get stuck trying
to come up with something new, why don't
| | 09:23 | you try dragging some audio into
your project and see where it leads?
| | Collapse this transcript |
| Adding audio markers| 00:00 | Okay, now whether you are gifted with
rhythm or not, you probably want to start
| | 00:06 | using markers to actually time
out your animation to match audio.
| | 00:11 | It's not uncommon to have to match
audio for things like map animations or some
| | 00:17 | kind of infographic, but we are going
of do something a little more fun here
| | 00:21 | and actually add some markers where we
will then turn around and add some edit
| | 00:27 | points and create kind of a fun little
7-second kind of music video/piece of eye candy.
| | 00:35 | Okay, so in order to do
this, we need to set markers.
| | 00:39 | Now there are two different kinds of
markers you can set in a Motion project.
| | 00:44 | You can set project markers,
or you can set object markers.
| | 00:49 | Now object markers are
tied to individual objects.
| | 00:52 | So if we look at our comp right now,
you'll notice the only thing that we have
| | 00:57 | imported is this Hiphop audio track.
| | 01:00 | So I am going to go ahead select that track.
| | 01:02 | Now to add a marker, all you need to do
is press the letter M on your keyboard.
| | 01:08 | Now, before I press the letter M,
I'm going to begin playback, so I can press M
| | 01:14 | whenever I hear the beat and
I think I wanted to an edit.
| | 01:17 | So let's begin playback by pressing the
spacebar and then as it's playing back
| | 01:22 | in real time, just press M anytime you think
you want to create an edit.
| | 01:27 | (music playing)
| | 01:40 | Notice I let it play back, and it just
looped. That's sometimes is really helpful
| | 01:46 | when you just want to hear the track
a few times before you decide to go
| | 01:50 | back and make an edit.
| | 01:51 | Now, like I said, object markers
are tied to the individual objects.
| | 01:56 | So if I click and drag on this audio
track, notice now the synched markers are
| | 02:02 | still stuck to that audio track.
| | 02:04 | So a lot of times when I am adding
markers that are tied to the beat of
| | 02:10 | something specific I will make
sure to create object markers.
| | 02:15 | Now, the disadvantage of the object
markers, since they are tied to the object, we
| | 02:20 | can't see what's going on
in the composition as a whole.
| | 02:23 | So sometimes it makes a little more
sense to add a marker to the composition.
| | 02:27 | Now, if we didn't have anything selected--
I am just going to click anywhere off
| | 02:31 | of that audio track.
| | 02:33 | If we didn't have any selected and we pressed M,
Motion would add a project marker by default.
| | 02:40 | Now, project markers can also be
added when you have objects selected.
| | 02:45 | All you have to do is press Shift and M.
So if you are listening to a long piece
| | 02:51 | of audio and you know you want to add
some edits based on the music, you can
| | 02:56 | have your audio tracks selected and
press m anytime you want to make an audio
| | 03:00 | edit, but press Shift+M anytime that
you want to insert an edit into the
| | 03:07 | Timeline of your project.
| | 03:09 | So adding markers is great because it
gives you something bright and colorful
| | 03:15 | to sync things up, but it also gives
you a way to navigate your project.
| | 03:20 | So if I know I want to move up and
down the Timeline based on these markers,
| | 03:25 | I am going to press
Command+Option+Left Arrow to move up to the Timeline
| | 03:30 | towards the beginning, or Option+
Command+Right Arrow to move down the
| | 03:35 | Timeline towards the end.
| | 03:36 | And notice it doesn't matter whether or not I'm
moving to a project marker or an object marker.
| | 03:43 | It's just going to move through all of them.
| | 03:45 | Now in addition to being helpful with
navigating, they are also helpful for
| | 03:50 | adding information into your project.
| | 03:53 | So, let's double-click on this project
marker here, the first one in our comp.
| | 03:59 | Notice when I double-click on it
I got this Edit Marker window.
| | 04:03 | In here, I will just
call this M1 for marker one.
| | 04:06 | I can type something longer, but I
typically recommend typing little codes to
| | 04:10 | yourself, so you don't have this huge
long word after each marker, especially
| | 04:15 | when you end up with a lot of different markers.
| | 04:17 | Now one of the cool things about this
is the fact that you can actually add a
| | 04:21 | duration to the marker.
| | 04:24 | So let's say, for example, you know you
have an audio track that you want to go
| | 04:28 | back and fix a certain section of that track.
| | 04:32 | Well, you can set a marker.
| | 04:34 | I am just going to click OK for that
one marker, and notice the name pops up
| | 04:38 | when I roll over with my mouse.
| | 04:40 | Now let's say I want to add a
duration to this object marker.
| | 04:46 | Well, when I double-click it, it opens
up my Edit Marker option and here I will
| | 04:51 | say Scratch, "Please
replace me with something better."
| | 04:59 | Now, also you can add the duration just by
clicking and dragging in the number field.
| | 05:06 | So if you know it's two seconds of footage
you are dealing with, just click and drag.
| | 05:11 | Now since it is color coded, I could
say anytime I insert a teal marker, it's
| | 05:18 | going to be something that needs to be replaced.
| | 05:21 | So when I click OK, now notice
that I have this teal marker.
| | 05:25 | Now it doesn't appear to have
anything in terms of duration, but if you
| | 05:30 | Ctrl+Click or right-click on the marker,
you can go to Edit Marker, and in here
| | 05:36 | you'll see I do have a duration
set up for this specific marker.
| | 05:42 | Now I can also use the Edit Marker window
that's here to navigate through my markers.
| | 05:48 | So if they were named something
different, they would pop up here, but I'm
| | 05:53 | actually navigating up and down
through the different markers.
| | 05:56 | Now we're not seeing that reflected
with the playhead, but that's okay.
| | 06:00 | I know I moving through my markers
because it's giving me the actual time for
| | 06:05 | each one of these markers.
| | 06:07 | Now, I know it's kind of hard to see in
the Timeline here, but if you look at the
| | 06:12 | teal marker--actually, you know what,
I will make this a little more obvious.
| | 06:16 | Let's right-click on the teal marker,
say, Edit Marker, and let's make this purple.
| | 06:22 | Hopefully, this'll have
enough contrast. There we go.
| | 06:25 | Now since I have made a purple,
you can actually see that there is a duration,
| | 06:29 | and it is visually represented with this marker.
| | 06:33 | So as you move around in your Timeline,
if you hover over individual markers,
| | 06:38 | you'll get labels and if you add a
duration, you will be all see that. Just make
| | 06:42 | sure that the color of the marker
you've chosen is in direct contrast to the
| | 06:48 | object you've applied it to.
| | 06:51 | So with markers, yes, they do a great
job of marking time. But better yet, they
| | 06:57 | do a great job of keeping your projects
organized, allowing you to label things,
| | 07:01 | and better yet, it gives you a fast,
easy way to navigate your project.
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|
|
14. Exporting and Sharing FilesSharing files| 00:01 | So you've worked really
hard to create your animation.
| | 00:03 | Now it's time to actually see things in action.
| | 00:06 | And the best way to do that is to
actually just export a file, and you do that
| | 00:11 | via the Share function in Motion.
| | 00:13 | Now, I can think of two instances where
I would want to share files most often,
| | 00:18 | and that would be, one, to
preview something that I've done.
| | 00:23 | See, sometimes when you layer a bunch
of different elements on the screen
| | 00:27 | it will be so heavily layered with
so many different kinds of replicators
| | 00:31 | and particle systems and filters,
that even when you do a RAM Preview, it
| | 00:34 | will be kind of stuttery.
| | 00:36 | So the easiest way to get a good idea
as to what it looks like is to go up to
| | 00:41 | the Share menu, and I like using the
Email option, because it compresses it
| | 00:45 | really small and then I can just
quickly and easily check out exactly what the
| | 00:49 | animation looks like in real time.
| | 00:52 | You could also choose Podcast Producer,
but we'll get to some of these other
| | 00:55 | presets here in just a quick second.
| | 00:57 | So if you want to preview something
that you've done at full resolution and RAM
| | 01:01 | Preview just isn't cutting it then the
Sharing function is definitely something
| | 01:05 | you want to check out.
| | 01:06 | Now, the second option that I'm sure most
of you are familiar with is Final Export.
| | 01:12 | When you're finished with your
project, do you want to put it up on your
| | 01:15 | Vimeo site, or do you want to share it to
YouTube, or do you want to share it somewhere else?
| | 01:20 | Well, under the Share menu, there are
a bunch of presets for the most common
| | 01:25 | workflows that people deal with when
they're creating motion graphics in Motion.
| | 01:30 | So there's YouTube.
| | 01:32 | You can export to Facebook.
| | 01:33 | You can export to Vimeo. Let me just choose
Vimeo so you can see exactly what it does.
| | 01:38 | Not only does it choose optimum
settings for that specific platform, but it
| | 01:43 | gives you the ability to add your account,
set up the password, and see who it's
| | 01:48 | actually viewable by.
| | 01:50 | So this is very well integrated with
Vimeo if you're a Vimeo account holder.
| | 01:54 | The other Share options function
in a similar manner with YouTube and
| | 01:58 | Facebook and CNN iReport.
| | 02:01 | The ones that you'll probably end up
using most often when you're trying to just
| | 02:04 | get a file into a video-editing
system or send out to your friends,
| | 02:08 | you'll probably just want to export a movie.
| | 02:12 | So when we click on Export Movie, the
first thing that will pop up is this menu.
| | 02:17 | And I want you to pay attention to
these different channels within the menu,
| | 02:21 | because these are repeated
throughout all the different export options.
| | 02:26 | Whenever you go to some of the other
options, they'll most likely be channels,
| | 02:31 | and in there, there will be Render
settings, Advanced settings, and a summary of
| | 02:36 | everything that's going on.
| | 02:38 | So let's look at Options.
| | 02:39 | Right now for Export,
it's set to Current Settings.
| | 02:42 | This is a little problematic if you're
trying to get a really good idea as to
| | 02:46 | what your project looks like,
especially if you have your Render Settings set a
| | 02:51 | little low, so I'm just
going to cancel out of this.
| | 02:53 | Sometimes when you're working with
complex projects in Motion, you'll want to
| | 02:57 | actually lower the resolution so
you can get better real-time playback.
| | 03:02 | Now, when you go to the Export Movie
option under Share you have to pay
| | 03:05 | attention to what these settings are
unless you want to override it in the
| | 03:09 | Export Options, which is what I'd
actually recommend most of you end up doing.
| | 03:13 | The way to do that is to go to Share,
choose Export Movie, and then under the
| | 03:18 | Export settings, choose one of the
ProRes settings if you're going to bounce
| | 03:22 | this out to another Apple system.
| | 03:24 | So for example, Apple ProRes 4444--
| | 03:28 | it's known as Apple ProRes 4x 4--
| | 03:31 | this is designed specifically to create
a file that is a small file size, but it
| | 03:37 | won't compress the image to a point
where there is a lot of degradation.
| | 03:43 | So it's the lossy codec, but it's very minute.
| | 03:46 | When you go to the Render settings,
this is where you can up and override any of
| | 03:51 | the settings you have in your project.
| | 03:53 | So I guess the last time I exported
something using Apple ProRes 4x4, I only
| | 03:58 | exported the color channel.
| | 04:00 | Now, if you have something transparent,
which isn't the case with this specific
| | 04:04 | example, but if you had something
that you wanted to superimpose over other
| | 04:08 | footage, you would want to choose Color + Alpha.
| | 04:11 | See, the Alpha Channel will give you
the transparency as long as there's
| | 04:15 | transparency in the project.
| | 04:17 | Now, whether you choose to
premultiply your alpha or not, it's up to you.
| | 04:20 | The big thing you need to remember,
when you have this selected, if you go to
| | 04:25 | another editing application, like
Final Cut, you want to make sure when your
| | 04:28 | graphic is imported that you interpret
the alpha channel properly, whether it
| | 04:33 | was actually premultiplied or not.
| | 04:35 | Down here, this is where we can
override things like the render quality.
| | 04:38 | So I usually set that right to Best
because that will give me the best
| | 04:42 | render right out of here.
| | 04:44 | Typically I don't render to Fields
if I'm going to another computer.
| | 04:48 | This is more of a broadcast option, if
you're exporting back to tape or going to
| | 04:52 | view it on an interlaced television.
| | 04:54 | Motion Blur, if I had any crazy camera
moves or objects moving large distances
| | 04:59 | in a short amount of time, you could
definitely turn on your Motion Blur.
| | 05:02 | And then if you remapped any footage, retimed
things, you may want to turn on Frame Blending.
| | 05:07 | That way it smoothes out
the retiming of the motion.
| | 05:11 | Under 3D Rendering, this is where you
can choose which camera you want to use,
| | 05:16 | what lighting setups you want to use, if
you want to use lighting at all, if you
| | 05:19 | want to use shadows--you get the idea.
| | 05:21 | So whenever you go to export a movie,
jump over to the Render section and make
| | 05:25 | sure these are set to a level that
you're expecting, especially if this is
| | 05:30 | something that you're going to be
exporting to show your final product.
| | 05:33 | Now, the Advanced setting,
this is kind of interesting.
| | 05:36 | There are two options:
| | 05:37 | This Computer and This Computer Plus.
| | 05:40 | This is kind of an advanced setting,
so I'm not going to get into a lot of
| | 05:43 | details with this, but basically you can
set up Compressor to render across a network.
| | 05:48 | So if you had more than one Mac,
you could set up a network render and then
| | 05:52 | choose This Computer Plus.
| | 05:54 | That way whenever you go to export
something and it triggers off background
| | 05:57 | rendering, it will render on multiple computers.
| | 06:00 | Now, when you do that, you probably want
to send it to Compressor so Compressor
| | 06:04 | can go ahead and finish things,
| | 06:05 | but that's the Advanced
setting with Background Rendering.
| | 06:08 | Now, the Summary over here lets you
see exactly what you're going to output.
| | 06:13 | So it shows you the codec, which if you
remember, codec is the compression and decompression.
| | 06:19 | So whoever views this on the other
side needs to have Apple ProRes 4x4.
| | 06:24 | It shows you the frame rate, the
size, the estimated file size, and of
| | 06:28 | course the file name.
| | 06:30 | So if I'm ready to export this, I'll
just go ahead and click Next, and then it
| | 06:35 | will ask me where I want to save
it and what I would like to name it.
| | 06:39 | So if I want to call this the Sample,
I can call this the Sample and export it
| | 06:44 | to somewhere like my Desktop.
| | 06:46 | The second I click Save, it's going
to go through the Export Options and
| | 06:50 | actually export the full-res QuickTime
movie based on the settings that I had
| | 06:55 | just specified in my Output options.
| | Collapse this transcript |
| Creating a pre-render| 00:00 | Now believe it or not, I have a bunch of
friends that kind of make fun of me for
| | 00:04 | doing this technique, but honestly,
I really kind of enjoy pre-rendering.
| | 00:09 | So if you're an old-school designer, you
probably know exactly what I am talking
| | 00:12 | about, but if you've always been in the
world of real-time motion graphics with
| | 00:17 | Motion, you may not completely grasp
the advantage of pre-rendering something.
| | 00:22 | So let me take you through a typical
workflow that I would do when I know I'm
| | 00:26 | going to be creating a rather complex animation.
| | 00:29 | So let's look at our project here and
as you can see, we have a video layer with
| | 00:33 | the Keyer attached to it.
| | 00:35 | Now we definitely went over how to
create this in the Green Screen chapter, so I
| | 00:39 | am not going to jump into the
Keyer options and things like that.
| | 00:42 | I just want us to look at the
playback here by pressing the spacebar on our
| | 00:46 | computer, and you notice immediately
that it's going to play back rather slowly.
| | 00:51 | That's because Keying is
somewhat processor intensive.
| | 00:55 | Now I know this key is a little rough,
but that's perfectly fine because the
| | 01:00 | treatment that I want to do, I am
going to change her into a silhouette, and
| | 01:05 | then I want to replicate that
silhouette all over the place.
| | 01:08 | Let's think about the
processing that's going on right now.
| | 01:11 | See, I have got the green-screen
footage, which if we zoom out here--I will
| | 01:15 | Command+Minus--you notice it
is larger than our project.
| | 01:19 | So let's go to the Inspector with
that piece of footage selected and in the
| | 01:23 | Properties section
change the Scale down to 67%.
| | 01:30 | That way as she dances around, she's
not getting cut off on the edges and then
| | 01:35 | she really moves out of the scene.
| | 01:37 | Now this process of just choosing the
green-screen color and keying out the
| | 01:42 | background is pretty intensive.
| | 01:44 | Now we're also scaling the image down as well.
| | 01:48 | The second we try and load this into the
replicator, imagine what's going to happen.
| | 01:54 | You're going to have, I don't know,
twelve copies of this or sixteen copies
| | 01:58 | of this, and each time, yes, it loads
the keying once, but it has to replicate
| | 02:03 | that multiple times.
| | 02:04 | So as you would imagine,
this can be very processor intensive.
| | 02:08 | To make the work a lot faster, one of
the things I like to do is just pre-render
| | 02:12 | something if I know that I'm going
to be using it for a specific task.
| | 02:16 | I like how her T-shirt is cut out of
the background because of the style
| | 02:22 | it's going to create. So select the QuickTime
file and let's go to the Library and in the Filter
| | 02:28 | section I want to go to Color Correction.
| | 02:30 | See what we are going to do is
change her into a silhouette.
| | 02:33 | So grab the Colorize filter and just
drag it and drop it right on top of her
| | 02:38 | QuickTime layer. And in the Inspector,
| | 02:41 | let's remap black back to black and we
will remap white all the way to black, and
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