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The real-time engine in Motion 3, a component of Apple's Final Cut Studio 2, gives motion graphics designers the freedom to continually experiment and adjust while they work. Ian Robinson explores how to get the most from this unique application, while also sharing his own essential motion graphics techniques. Along with teaching the fundamentals of video and audio work, he looks at Motion 3's new 3D tools in depth. Ian demonstrates the use of behaviors to create organic movement in particle systems and camera moves without keyframes. He also discusses effective integration with the other Final Cut Studio applications, and much more. Example files accompany the course.
If you stay in the industry long enough, eventually someone will ask you to add something to a scene that wasn't originally there. For this scene, we need to add a logo onto the side of this boat. So go to your Media folder, and under Graphics, you should find the Oceanside.psd. Just drag in and drop it. Luckily, it's a pretty simple logo. All you have to do is pin it to the side of the boat. So go ahead and hit the spacebar or Play. That doesn't look very promising, but luckily, we have Four-corner pin.
So go up to Add Behavior, Motion Tracking, and choose Match Move. Obviously, Match Move is named because it matches the move. Hit F7 to open up your HUD. Under Type, change it from Transformation to Four Corners, and now you will notice we have four corners to pin on the side of the boat. What we want to do is try and choose some distinct locations. So go ahead and drag the lower right corner to a lower right section of the boat. And the upper right corner, do the same.
And the lower left corner, somewhere up here by the rust. And the upper left corner, we will pin close to the gunnel here up on the side. We need to fix this lower right corner. Starting to look a little better. Let's see. So I am just trying to find some dirty areas where there is a little bit of contrast, sort of like this distinct cut right here.
Close enough. Now, we can let this analyze the move, and then if it's close, we will go ahead and colorize and blend this into the boat a little bit. So click the Analyze button. And now you notice it's chunking right along and analyzing each individual corner. Let's see the results. Move your playhead back to the beginning, open F5 and Deselect the Match Move, and hit your spacebar and let's look at it. That looks pretty darn good. Now all we have to do is colorize this a little bit and blend it into the boat some more so it doesn't pop out so much.
So stop playback, move your playhead back to the beginning, go to your Library, choose Filters, and let's look for something we can adjust color with. Colorize; drag and drop it right to the Oceanside Layer. Its default setting actually looks pretty good, let's just adjust its Blend Mode to blend it into the background a little more. Choose Darken, and drop its Opacity down to 85. Now Deselect the Layer, hit F5 to hide your Layers, and hit your spacebar to check out the work.
There we go, we just did a somewhat complex Four-corner pin. I hope you find this tool useful the more you use Motion.
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