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Applying multiple filters


Motion 4 Essential Training

with Ian Robinson

Video: Applying multiple filters

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.
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  1. 6m 51s
    1. Welcome
      1m 0s
    2. Important definitions
      3m 5s
    3. What's new in Motion 4
      1m 51s
    4. Using the exercise files
  2. 45m 36s
    1. Launching Motion for the first time
      2m 19s
    2. Understanding the Motion interface
      4m 43s
    3. Understanding the Utility window
      5m 50s
    4. Understanding the toolbar
      1m 56s
    5. Navigating the Canvas
      4m 37s
    6. Working with layers and layer groups
      4m 52s
    7. Using the Project pane
      2m 42s
    8. Transforming objects
      3m 41s
    9. Controlling the Timeline
      4m 27s
    10. Using the HUD
      1m 27s
    11. Essential preferences
      2m 37s
    12. Customizing the keyboard
      4m 14s
    13. Getting smooth playback with RAM preview
      2m 11s
  3. 28m 51s
    1. Adding assets to Motion
      3m 12s
    2. Adding QuickTime movies to Motion
      3m 30s
    3. Adding still images to Motion
      3m 23s
    4. Adding image sequences
      3m 23s
    5. Adding layered Photoshop files
      2m 39s
    6. Adding Illustrator files
      2m 12s
    7. Using the Library
      3m 14s
    8. Understanding and using blend modes
      5m 39s
    9. Adding text
      1m 39s
  4. 13m 18s
    1. Creating and adjusting shapes
      7m 40s
    2. Creating simple masks
      2m 36s
    3. Creating masks with objects
      3m 2s
  5. 42m 23s
    1. Adding and adjusting behaviors
      5m 50s
    2. Adding parameter behaviors
      4m 2s
    3. Applying behaviors to layers and groups
      5m 15s
    4. Adding multiple behaviors
      7m 39s
    5. Exploring the power of the Link behavior
      5m 2s
    6. Trimming and sliding behaviors
      5m 18s
    7. Saving custom behaviors to animate stills
      4m 23s
    8. Using shape behaviors
      4m 54s
  6. 25m 3s
    1. Adding keyframes manually
      6m 10s
    2. Using the Record button
      6m 38s
    3. Manipulating keyframes with the Keyframe Editor
      6m 59s
    4. Combining keyframes and behaviors
      3m 33s
    5. Working with recording options
      1m 43s
  7. 26m 37s
    1. Adding and formatting text
      5m 35s
    2. Using text styles
      4m 32s
    3. Formatting text with the Adjust Glyph tool
      4m 8s
    4. Animating text with the Adjust Glyph tool
      4m 23s
    5. Creating text on a path
      3m 35s
    6. Using text behaviors
      4m 24s
  8. 22m 4s
    1. Stabilizing shaky footage
      4m 7s
    2. Match moving: Transform
      3m 56s
    3. Match moving: Four-corner pin
      4m 44s
    4. Retiming video in the Inspector
      5m 49s
    5. Using retiming behaviors
      3m 28s
  9. 11m 41s
    1. Applying and adjusting filters
      2m 46s
    2. Applying multiple filters
      8m 55s
  10. 8m 13s
    1. Pulling a luma key
      2m 42s
    2. Pulling a chroma key with Primatte RT
      5m 31s
  11. 11m 28s
    1. Applying and adjusting generators
      3m 25s
    2. Using the text generator
      4m 15s
    3. Generating a background
      3m 48s
  12. 19m 8s
    1. Creating basic particle systems
      10m 58s
    2. Using particle presets
      1m 51s
    3. Creating an advanced particle system
      6m 19s
  13. 13m 24s
    1. Replicating objects
      4m 52s
    2. Animating a replicator
      4m 53s
    3. Replicating a video file
      3m 39s
  14. 49m 46s
    1. Working in 3D space
      5m 11s
    2. Working with cameras
      8m 6s
    3. Viewing a 3D scene in different layouts
      2m 56s
    4. Creating depth with lights and shadows
      8m 22s
    5. Simulating depth of field
      3m 54s
    6. Using camera behaviors
      4m 7s
    7. Animating cameras with camera framing
      6m 8s
    8. Create interest with the Focus behavior
      1m 52s
    9. Using reflections and highlights
      5m 13s
    10. Creating particles in 3D
      3m 57s
  15. 20m 31s
    1. Using the Paint tool
      6m 1s
    2. Using advanced paint tools
      8m 9s
    3. Applying paint presets
      1m 51s
    4. Sequencing paint with the Stroke behavior
      4m 30s
  16. 9m 3s
    1. Adding and adjusting audio
      4m 37s
    2. Animating to music with the Audio Parameter behavior
      4m 26s
  17. 11m 52s
    1. Sharing files
      3m 36s
    2. Exporting files
      3m 15s
    3. Creating an export preset
      3m 0s
    4. Archiving your project
      2m 1s
  18. 15m 30s
    1. Round-tripping between Final Cut Pro and Motion
      4m 24s
    2. Sending your project to Compressor
      1m 59s
    3. Creating drop zones
      3m 0s
    4. Creating templates for Motion and Final Cut
      5m 2s
    5. Importing Motion projects into DVD Studio Pro
      1m 5s
  19. 22s
    1. Goodbye

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Watch the Online Video Course Motion 4 Essential Training
6h 21m Beginner Sep 11, 2009

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.

Topics include:
  • Understanding the toolbar and setting the essential preferences to get started
  • Adding .mov files, still images, and Photoshop and Illustrator assets to a project
  • Animating with behaviors and keyframes
  • Creating 3D animations with lighting accents, shadows, and reflections
  • Creating simple and complex particle systems
  • Creating real viewer interest with Focus Behavior and the 3D Camera Framing behavior
Ian Robinson

Applying multiple filters

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 .

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Q: In Motion 4, is it possible to create an intro with multiple pictures, where some pictures enter from the left side and some from the right side of the frame, with all fading as they approach the center of the canvas?
A: The effect described is a very specific move utilizing 3D space.  One effective method is to work in true 3D space, instead of trying to use a behavior, by keyframing the animation. Try these steps:
  1. Place a camera in the scene and switch the scene to 3D. 
  2. Rotate the first image to an angle that achieves the desired effect, and slide it on the X axis until it is out of the scene on the right of the stage. 
  3. Turn on Auto Keyframing and make sure a keyframe is recorded for the rotation and position. 
  4. Move the playhead down the Timeline and move the picture to it's ending point and adjust the rotation a little for the end. 
  5. To get the image to disappear, adjust the camera's far plane of view, making sure to soften it so it has a smooth transition into oblivion. 
    Then simply duplicate the picture and change the rotation and position keyframes to the exact opposite values for rotation and position. 
Q: When attempting to change views as the instructor demonstrates in the “Viewing a 3D scene in different layouts” video, I only see the text in the Perspective view. When the instructor uses the Top and Bottom screen split, and uses the Top view, my screen does not show the four horizontal lines that represent the four words used in the tutorial.
Are there settings that need to be changes in order to view all the objects as demonstrated in the tutorial?
A: It’s possible that when viewing the project from different?angles, the letters may be sliding way out of the view area.
Here’s how to fix it: Whenever you can't see your objects in the?scene, select at least one of them in the Layers panel and then press?F or Command+F to frame the selected objects in the scene.
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