Viewers: in countries Watching now:
In Motion 4 Essential Training, Ian Robinson shows how to start building outstanding motion graphics and animations for video production. He demonstrates how to build custom text animations with the new Adjust Glyph tool and explores Motion’s amazing real-time 3D tools. Ian highlights working in the 3D space, creating depth with lights and shadows, and using reflections to add realism. He gives practical advice on how to integrate Motion into a professional video workflow, round-tripping with Final Cut Pro and sending a final project to Compressor. Exercise files accompany this course.
As you get used to working in Motion, the process of laying multiple filters on top of each other will become more common. So I'm going to take you through a typical project workflow where we'll animate some text and really mix it up by adding multiple filters. So press Play in the Transport controls and let's check out what we have. It's a pretty straightforward scale of some text, and I'm just going to stop playback that for a second. Let's select the text and press F5 to open the Project pane and you'll notice we have text, we have Fade In/Fade Out behavior and Text Tracking applied to this text.
We're going to build this animation in a modular fashion. So once the animation is built, we can then duplicate it, slide it down the timeline, and change the text to the next piece of text in that title open. So for the animation itself, we're going to accentuate the horizontal movement of the Text Tracking by adding a Horizontal Blur and then we'll add some glows and different effects on top of it to really make that transition pop. So, in this lesson we'll be using a lot of the techniques you may have learned earlier in this course from keyframing to trimming etcetera.
Let's go to the Library tab, and in the Filter section first thing we want to do is pixelate this footage. Now, in that filter I'm looking for Pixelate, so I'll start typing pix and there it is. So to apply this, all you have to do is drag-and-drop it directly on to the word, and you notice immediately its start pixelating. Let's first play to see what it looks like. Now, there is some slight movement in here and that's just because the text is fading and tracking out. So let's stop playback for a second and make some adjustments to the Pixelate filter.
Notice as I drag the slider, this just pixelate the text. So what we'll need to do is add some keyframes directly on to this filter. In order to do that, let's play some playhead where we would like the text to start pixelating. Move your playhead back to about frame 40 and turn on Automatic Keyframing. If I make an adjustment in the HUD, there will be a keyframe applied to the beginning of this filter. What we need to do to alleviate that issue is trim the beginning of the filter, since we don't want it to start pixelating until this point anyway.
So if you press I on your keyboard, that will trim that specific filter. Now, with the filter selected let's just drag the scale up and then back down to 1 again, because this is where we would like this filter transition to start. Now let's move our playhead further down the Timeline almost to the end and drag the scale of the pixelation up a little bit just so we can create some large pixelation box. Now, if we move our playhead to the beginning and press Play, you'll notice the text fades in and then pixelate out. Now that filter in and of itself in my opinion is a pretty cool filter, but let's take it to the next level by layering some more filters on top.
Now stop playback for a second and turn off my Automatic Keyframing button. What we need to do now is add a blur so the text blurs out horizontally. In the Search tab, I'll just go to the Blur section and choose Directional Blur. Let's drag-and-drop it directly on to the text in the Layers tab and you notice the Blur Amount is working beautifully, if I crank this number way high, you notice that the blur is going out horizontally quite nicely. If we slid the Angle around, you'll notice the blur would change according to the new angle.
Let's just leave it at 0 for now. Now would be a good time to open a Timing panes, so we can see the exact timing of all these different filters. Press F6 to open the Timing pane and you'll notice we need to trim Directional Blur. Let's click on the left edge and turn it back, so it's starts just a few frames after Pixelate. Now, let's move our playhead to the beginning of that filter, turn on Automatic Keyframing, and again let's just drag the Amount down to 0. Move our playhead almost to the end of the Timeline, and we'll have it blur out quite a bit.
Let's choose 20 and click Play from beginning so we can preview the animation. It's getting there and now what we need to do is really add some punch with some glows. So I'm going to stop playback just for a quick second, and we'll look at adding a Glow. Let's go to the Glow section and look at some of the different options. You can do Bloom, Dazzle, Gloom, Glow. Since I like the motion of everything that's going on here and I would like to accentuate that, let's actually choose Dazzle, because we'll add these little star points to the Blur effect.
So if we drag Dazzle out directly on to the word, now you'll notice we have this really cool dazzling effect. Now, just so I don't get in trouble, let's turn off Automatic Keyframing for right now and work on trimming the Dazzle filter, just drag it down on the timeline. Let's click Play from beginning again so we can watch what happens. So just like last time, we need to add keyframes onto the Dazzle behavior. Turn on Automatic Keyframing, and let's drag the amount down to 0. I would like the Angle to actually animate as well, so we'll just drag that slider to the right and then back again to the left.
If you're not sure whether you're adding keyframes or not, you can quickly jump to the Keyframe Editor and see that we have added keyframes to both the Amount and the Angle of the Dazzle behavior. Let's jump back to the Timeline here. Now that we know we have keyframes on here, let's turn the visibility of the keyframe on in the Timeline with the keyframe button down here in the lower left. So now, not only I can I see my filters, but I can see any keyframe that have been applied as well. Let's move our playhead a little further down in the Timeline and crank up the amount on the dazzle.
Now since we have animated Angle of this Dazzle, I would like these spikes to keep moving all the way to the end of the clip. So let's drag the playhead down to the end of the clip and drag the angle as well. Now if we click Play from beginning, we'll watch our text and it dazzles out. Now to me that's kind of coming on a little fast, so let's slide Dazzle down in our timeline and just again, so I don't get in trouble, let me turn off Automatic Keyframing and just slide this down on our Timeline.
This is one of the nice things when you retime a filter. Notice the keyframe that are applied to it are also properly adjusting along the length of that filter. They're not specifically tied to that point in time in the Timeline; they are tied to that point in time within the filter. Let's click Play from beginning one last time and check this out. That's looking pretty darn good. Now there is one other thing I want to show you when you layer multiple filters. Let's stop for a second and close the HUD.
The order in which we add these filters have a direct effect on how the effect is actually being attained. So if I drag the Dazzle behavior below the Pixelate behavior, you'll notice since Dazzle is applied to the text first, the pixelation is happening after that and then the Directional Blur is happening after that. So, the order in which you apply the filters works from the bottom up. So it's very important to pay attention to the order you add your filters in.
So let's drag Dazzle back up towards the top. So I said it was really close, I just like to add one more Glow filter on to this, so it's not so spiky when it transitions out. So move your playhead to around Frame 70. Let's go back up under Add Filter, choose Glow > Glow. Let's look in the Inspector at some of the different options with Glow. If we drag the Radius out, we can actually increase the radius of the glow, a sort of like where it's out right now at 10, so let's leave that.
Let's trim the start of this filter by pressing I on the keyboard. Now since we want to animate this Glow, let's turn out Automatic Keyframing one more time, drag the Radius down, drag the Opacity down, move our playhead a little further down the timeline, not too much since I want the Glow to actually start happening rather quickly and we'll just drag the Radius back up again and the Opacity back up. Now, let's turn off Automatic Keyframing, click play from beginning one last time, deselect and check it out.
So now that we have achieved this effect, we could then duplicate this layer, slide the whole thing down in the timeline and change the text to update for the rest of the information for this title open. So as you can see applying multiple filters in motion can actually take your animation from one level to the next.
Find answers to the most frequently asked questions about Motion 4 Essential Training .
Here are the FAQs that matched your search "" :
Sorry, there are no matches for your search "" —to search again, type in another word or phrase and click search.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.