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Motion 3 Essential Training

Making complex particles


From:

Motion 3 Essential Training

with Ian Robinson

Video: Making complex particles

So complex particle systems are just like normal particle systems; they just have more. So if you open your Project pane, F5, let's create a music explosion. So select the clef and click Make Particles. Go ahead and hit your spacebar. And you will see we have a whole bunch of clefs flying out from the center point here. I want to add a whole bunch of other particle cells do the emitter, and the way you do that, is to just drag whatever is in your composition right up to your emitter, and you will get the plus button, when you let go, you'll notice now that has been added to the particle emitter.
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  1. 6m 43s
    1. Welcome
      52s
    2. Why use Motion?
      1m 49s
    3. Important definitions
      2m 22s
    4. Using the example files
      1m 40s
  2. 23m 59s
    1. Launching Motion for the first time
      2m 0s
    2. Understanding the Motion interface
      3m 21s
    3. Navigating the Canvas
      5m 26s
    4. Controlling the Timeline
      3m 29s
    5. Using the Toolbar
      3m 2s
    6. Setting essential preferences
      3m 37s
    7. Customizing your keyboard
      3m 4s
  3. 25m 20s
    1. Adding outside assets
      4m 14s
    2. Using Library content
      2m 56s
    3. Working with layers
      6m 59s
    4. Working with groups
      5m 33s
    5. Using blend modes
      5m 38s
  4. 35m 21s
    1. Adding and adjusting behaviors
      4m 2s
    2. Applying behaviors to layers vs. groups
      1m 51s
    3. Adding multiple behaviors
      4m 8s
    4. Adding parameter behaviors
      5m 30s
    5. Trimming and sliding behaviors
      9m 23s
    6. Animating stills with behaviors
      10m 27s
  5. 18m 45s
    1. Using the Record button
      3m 33s
    2. Adding keyframes manually
      2m 49s
    3. Manipulating keyframes with the Keyframe Editor
      5m 36s
    4. Combining keyframes and behaviors
      3m 10s
    5. Working with recording options
      3m 37s
  6. 22m 51s
    1. Adding and formatting text
      5m 56s
    2. Creating text on a path
      4m 16s
    3. Animating text
      4m 18s
    4. Using pre-built text behaviors
      2m 1s
    5. Using text styles
      4m 13s
    6. Creating your own text preset
      2m 7s
  7. 15m 59s
    1. Applying and adjusting filters
      7m 0s
    2. Applying multiple filters
      4m 16s
    3. Being creative with filters
      4m 43s
  8. 8m 46s
    1. Understanding different types of keying
      2m 8s
    2. Pulling a simple key
      6m 38s
  9. 20m 27s
    1. Creating simple shapes
      6m 21s
    2. Adjusting shapes
      3m 1s
    3. Creating simple masks
      2m 33s
    4. Creating a tracking mask
      3m 24s
    5. Creating a complex mask
      2m 15s
    6. Creating image masks
      2m 53s
  10. 6m 48s
    1. Applying and adjusting generators
      3m 11s
    2. Generating a background
      1m 30s
    3. Generating a transition
      2m 7s
  11. 17m 33s
    1. Understanding particles
      2m 5s
    2. Creating basic particle systems
      5m 18s
    3. Making complex particles
      6m 13s
    4. Modifying particle behaviors
      3m 57s
  12. 17m 59s
    1. Replicating objects
      5m 6s
    2. Animating a replicator
      4m 32s
    3. Replicating a video file
      3m 31s
    4. Creating a lower third replicator preset
      4m 50s
  13. 14m 52s
    1. Painting in Motion
      8m 11s
    2. Sequencing paint stroke behavior
      3m 54s
    3. Applying paint dynamics
      1m 26s
    4. Painting from shapes
      1m 21s
  14. 25m 43s
    1. Using 3D space
      4m 52s
    2. Working with cameras
      3m 55s
    3. Using camera behaviors
      3m 41s
    4. Lighting a scene
      4m 56s
    5. Creating 3D text
      1m 53s
    6. Creating 3D replicators
      2m 27s
    7. Creating 3D particles
      3m 59s
  15. 14m 42s
    1. Applying Match Move: Four-corner pin
      3m 11s
    2. Applying Match Move: Transform
      1m 48s
    3. Working with stabilization
      2m 11s
    4. Retiming video
      4m 3s
    5. Retiming with behaviors
      3m 29s
  16. 11m 24s
    1. Adding and adjusting audio
      4m 51s
    2. Adding audio markers
      2m 56s
    3. Applying the audio parameter behavior
      3m 37s
  17. 7m 31s
    1. Exporting files
      2m 49s
    2. Creating an export preset
      2m 51s
    3. Archiving your project
      1m 51s
  18. 22m 25s
    1. Sending your project to Compressor
      3m 35s
    2. Roundtripping between Motion and Final Cut Pro
      7m 11s
    3. Creating drop zones
      5m 27s
    4. Creating templates for Motion
      2m 19s
    5. Creating templates for Final Cut Pro
      1m 14s
    6. Creating DVD Studio Pro menus
      2m 39s
  19. 14s
    1. Goodbye
      14s

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Motion 3 Essential Training
5h 17m Beginner Jul 30, 2008

Viewers: in countries Watching now:

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.

Topics include:
  • Adding assets to the Library Working with layers and groups Applying single or multiple behaviors Manipulating keyframes Animating text Applying and adjusting filters Understanding different types of keying Using masks and shapes Generating a background or transition with generators Replicating an object or video file with replicators Understanding paint Using lights and cameras Retiming footage using behaviors and the Inspector Tracking motion with Match Move
Subject:
Video
Software:
Motion
Author:
Ian Robinson

Making complex particles

So complex particle systems are just like normal particle systems; they just have more. So if you open your Project pane, F5, let's create a music explosion. So select the clef and click Make Particles. Go ahead and hit your spacebar. And you will see we have a whole bunch of clefs flying out from the center point here. I want to add a whole bunch of other particle cells do the emitter, and the way you do that, is to just drag whatever is in your composition right up to your emitter, and you will get the plus button, when you let go, you'll notice now that has been added to the particle emitter.

What you need to do is un-check your original source, otherwise that will sit there and be stagnant. So let's add the rest of them. The Violin, un-check that, and the Guitar, and turn that off. So it is important to remember that these objects are directly related to your particles cells. So if I deleted one of these, it would actually delete out of the particle emitter. I do not want to do that right now, so I am just going to leave them where they are. But go ahead and select the Clef, and open your Inspector, and we will make some adjustments to this individual particles cell.

Crank the Birth Rate down, I don't need that many clefs bursting out, and let's shorten the Life a little bit down to around 2, and go ahead and crank up the Spin, and adjust the Spin Randomness. So they don't quite spin at the exact same rate. Now I don't want to colorize these, I will just leave them white. Let's move on to the Banjo. We can adjust its Birth Rate down just a little bit, and adjust its speed up, just a tiny amount, and go ahead and adjust its Angle and its Angle Randomness, and we will have them spin as well.

And just see they don't all spin at the same time, adjust the Spin Randomness as well. Let's go to Violin, and we are just going to go ahead and keep making adjustments to each one of these, so they are all slightly different. So each cell has its own character, and at last the Guitar. Now go ahead and select your emitter and hit the spacebar. And you see there is a slight problem here. Each particle cell is directly on top of the other one.

Now to fix that problem, all you do is, check the Interleave Particles box, and now, they are all nice and neatly mixed together. Now if you notice, there is one other problem here. I will stop playback. This area here, is staying relatively the same, and the reason is the Render Order. We want to switch this to Oldest Last, and now when you hit your spacebar, they are all busting out of that individual section here. We will go ahead and stop playback, and look at some of the other options.

We can change the Birth Rate. Now the nice thing about this, you notice it's in percentages; what this is doing, is actually changing the Birth Rate for every single particle cell. So if I crank this down quite a bit, you will notice all of them cranked down. Same with the Life and the Scale. You'll notice there is no option for the Scale Randomness, because it would not know which different particle cell to adjust to make random. So if you want to adjust your Scale Randomness, make sure you are actually in your particle cell options and here you will notice your Scale Randomness, so you can kind of adjust the scale on different ones.

Let's go back up to the emitter here, and you'll notice if you want to change any of your particles, you actually can. So what I want to do, is go to my Particle Library here, and let's say my friend who plays the keyboard felt a little left out; we will go to the content here and scroll down to the keyboard. Let's drag and drop that in to our composition. It's a little big, so let's scale it down. I am holding Shift, so it scales around the center point, and drag that back to the center.

Re-select your particle emitter, go to the Inspector, and you will see the options here. So I don't want a Banjo, we will change that with a keyboard. Just go ahead and drag and drop it right into the drop here, and when you let it go; now we have keyboards where there were Banjos. I am going to un-check the master, so that one does not stay stagnant in the middle of this particle emitter. Last but not the least, this is also where you can change the shape, so if I didn't want a busting out of a point, I could have it busting out of a line or out of a rectangle or just about any other options here, including your own custom geometry.

But I want to leave that as a Line, and let's go ahead and adjust its options by choosing the Adjust Item tool. Drag this over to the side here, drag the other one over to the side, and rewind your playhead back to the beginning. Click anywhere on the canvas to de-select and hit your spacebar. This is relatively close. The only issue I see, is in the fact that these are actually popping on and off, so go ahead and select your particle cell, and down here you will notice under each particle cell you have an option for Opacity Over Life, and the way you adjust, this is to just click on the Line.

And so it works from left to right. If you select the original one and drag it down, now when you start, it will be completely transparent, and when it gets to the top, it will be completely opaque. Let's add a Fade Out as well. Go ahead and fade that back up. So for the clef, these will fade in and fade out. Go ahead and hit your spacebar, and see what I am talking about. So you can feel free to go back through all the different particle cells and adjust the Fade In, Fade out. But for now, that is the basics of creating a complex particle system.

Find answers to the most frequently asked questions about Motion 3 Essential Training.


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Q: When attempting to use an Illustrator file in Motion (the WakingUpText.ai exercise file), the file will not import.  What is causing this issue?
A: If Motion is not importing the .AI (Adobe Illustrator) files correctly, see the instructions for using Illustrator files with Motion here: http://www.apple.com/pro/techniques/motionimport/
An important step is to make sure the Illustrator files have PDF compatibility turned on. To do this, open the files in Illustrator and check the “Create PDF Compatible File” option in the Save dialog box. Another option is to save the file as a PDF before importing it into Motion.
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