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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.
So typically in the process of Keying, you'll have to create a thing called a Track Mask and basically what this is, is a Mask that follows your subject around and helps cut out any unwanted elements. So let's go ahead and draw one. Select your Breakdance layer, go up to the Bezier Mask tool. And what we want to do is just draw a mask around our dancer. And we want to make sure to have plenty of points when we do this because in the process of drawing a Track Mask, you don't ever want to really have to add points, sometimes that can cause major problems.
And you'll notice, I am drawing way outside the dancer in different shapes, because in this exercise I want to create just a graphic look and the shape will bounce around and change as the dancer is dancing. Typically if we are using a Track Mask, you are doing a process called rotoscoping which is a little more precise where you want to actually have your Track Mask, right up against the edge of your object, but like I said, all we're trying to do right here is create a graphic style. And I want you to get the concept of actually drawing a Track Mask.
So now with the Mask drawn, turn on your record button, and let's move our playhead down just a little bit. And just move the Mask. And you should notice, if you move the playhead back, now our track mask is starting to move. Typically when you are rotoscoping, you have do this frame by frame and it's very, very tedious. But like I said, all we are doing is just trying to create a style for this dancer right now.
And we only have 2 seconds of this footage to do this process. And I want to keep the sharp edges on this, if you ever want to have rounded edges, all you do is hold down Command as you drag and you'll get your handles. I am going to Apple+Z to undo that. Move your playhead further down. Okay, now it's pretty far outside the Mask. If you want to move the entire Mask, just move inside and drag. And that will move the entire mask and then as you move your points, you want to make sure to click right on your anchor points, otherwise you will move the entire mask.
And like I said this is a relatively tedious process. So let's go ahead and move the playhead back here and hit the spacebar. And you know I had this little pop in my Mask here. So I want to go ahead and fix that. So that one frame, I'll just slide it back. And let's move, and now I am getting this jagged dancing mask around my outside dancer. When you are finished, make sure to turn your record button off and for this style, I would actually like to feather my Track Mask, so go ahead and just drag that out a little bit.
And now this is a little bit more along the lines of what I was looking for. And if you move the playhead back and forth, you can go ahead and check that out. So feel free to go through out to the rest of the two seconds and create this graphics style, using a Track Mask.
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