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In Motion: Principles of Motion Graphics, Ian Robinson shares the core concepts and techniques used to create real-world motion graphic elements in Apple Motion. The course starts with finding the initial inspiration for a project and then covers how to bring those ideas to life using the tools in Motion, including type treatments, filters, textures, and lighting. Two projects demonstrating how to animate a title sequence and how to assemble a graphics package are also included. Exercise files accompany the course.
When it comes to animating cameras for motion graphics, Motion has some pretty amazing tools. Now, if you want to learn all the intricacies of controlling the cameras, I recommend you check out my Motion 4 Essential Training Title, as I kind of went bonkers making sure to notate all of the different controls for the cameras. In this video, we're going to focus specifically on how to animate cameras when dealing with motion graphics. Now, the interesting thing about this is the fact that most motion graphics are layered with all kinds of effects: filters, particles, reflections, lighting-- you get the whole deal.
So let's just go ahead and press Play and see what's going on with this project. So as you can see, I'm getting a blazing four or five frames per second, which is not quite what I'd expect from the real-time application that Motion is. Now, obviously this is not Motion's fault; I've layered all kinds of things in this project. Let's press F5 to see what I'm talking about. I've got two lights in the project. Of course I have my camera, and I have a particle system. And if we select a particle system under the Inspector, notice I have it set to Global 3D, which will render better, but notice they specifically notate Local 3D is faster.
If we go into all the different material settings, you can notice in the Properties area I've got Lighting, Shading, Highlights. You get the idea. It's very, very detailed. So when it comes to animating cameras for motion graphics, what I recommend is solo, solo, solo. So if you didn't get that, I'm going to say it one more time: solo. You need to solo the specific areas that you're trying to focus on. So, for example, let's select this Title layer. I want the camera to sweep around our text.
Now in order to do that, I need to actually be able to play back in real time. So select the Title layer and press Ctrl+S. Now notice everything else is kind of gone except for this title group, okay? So if I press play, watch what happens. Now, I'm getting a full 24 frames per second and I'm seeing my animated texture. That's pretty darn cool, but we want to do our camera move. So just move the playhead back to the beginning. Let's select our Camera here.
Go up to Add Behavior > Camera, and let's choose Sweep. Now, most of these camera behaviors work beautifully right out of the box. Literally just choose whatever it is you're trying to do and go up to the Camera Behavior and check it out. Whether its Focus or Framing or Sweep or Zoom, there are all kinds of different behaviors that work beautifully. But for Sweep, let's go ahead and just press Play and see what's come out, and sure enough it is exactly what I was looking for.
Now, I could tweak this more by changing the Start angle or the End angle. I can have it Swivel on the X, Y, or Z, but like I said, this is exactly what I was looking for. So in order to enable everything yet again, let's go to the Title layer and press Ctrl+S one more time, and you notice it un-soloes everything. Now, if you come up under Object, you can actually go right here and choose what you would like to Unsolo or Solo layer, right here.
So, I hope you can see the value in doing your camera animations for motion graphics here inside of Motion. The key is just to remember Solo.
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