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Learn how to create stunning motion graphics and animations for video production. Author Ian Robinson explains how to format and animate type with the Transform Glyph tool and explores Motion's real-time 3D tools. The course also covers working in 3D space, creating depth with lights and shadows, keying green screen effects, and working with particle systems. In addition, Ian offers practical advice on integrating Motion into a professional video workflow and explains how to work smarter using rigs and templates.
If you're unfamiliar with four-corner pin, basically what we're trying to do is take the four corners of a piece of footage and then tie those four corners into something else that is moving. A lot of times people use four-corner pin to black out a license plate or replace a sign. We are going to use it to actually do something slightly different. Here we have this piece of footage. If I press the spacebar here-- I will turn the audio off. Let's move that back here. If we press the spacebar, you can see the footage is moving, and what we need to do is just map in the logo and basically with a four-corner pin, we are going to make it look as though it was already painted on the ground.
So to do this we need to select the logo that we want to actually move and get placed into the background layer. And the way that this works is through a behavior under Motion Tracking called Match Move. In order to apply Match Move, we can just drag and drop it right onto our piece of footage. Now the way Match Move works, whatever object you apply it to, it's going to look at the next object below and use that as the source. So automatically it's chosen the 4CornerPin as the source for our move.
If you notice here I have this red target, and as I move around throughout the logo here, I'm actually seeing a close-up of our piece of background. So just so I can see things better, I am going to turn off the visibility for our logo and just put this one anchor point in the scene. Now when you are choosing anchor points, what you want to do is try and choose an area that looks relatively unique. So no matter where the move happens, the software will figure out exactly where that point is currently.
As we are looking at this, there is only one point. So in order to get four, you need to change the type. In the Inspector, under behaviors, change it from Transformation to Four Corners. Now I have four separate pins. And notice what happens. If I go to move this pin on the left here, I can't really see anything just yet. Let me move this pin over here. Let me move this pin up here, and I will move this pin over here. Now if we turn the visibility of our layer back on, notice, oh! It's actually distorting the image.
So this is both helpful and kind of a hindrance because as I move the point, I may have a point on the image that would be perfect to track because it's kind of high contrast and rather unique looking. But let's say I find this point. Let's say like right here I find this point. Well, when I do that, notice the distortion of the object doesn't really work. So what we need to do is change the Transform options. Again, back in the Inspector under behaviors, you want to choose Mimic Source.
What this is going to do is allow me to move my four corner points to different track areas but keep the distortion exactly the same. So what we want to do before we make that change under the Attach to Source, you want to go and get the distortion of your object so it kind of matches the distortion of the ground here. So I am just trying to make it look as though it were already pinned on the ground here. Okay. There we go. That's looking pretty close, maybe bring this down a little bit.
So this is relatively okay, but I don't know if the points that we are tracking are actually going to work quite right. So what we need to do is change the Transform to Mimic Source. Now when we do Mimic Source, I can move this to an area that's rather high contrast and unique looking, but notice as I move this, the object that we are going to map in is not distorting, okay. It's just going to mimic the movement based on our track. Now another thing with this project, if you notice I'm setting up these points and my playhead is currently at 01:17.
See, when you go to Analyze, you can analyze in multiple directions, so sometimes when you go to track a piece of footage, you'll move the footage so it gets to a place where it kind of makes sense, and you can click Analyze. Now what this is going to do is move from this frame forward and analyze the move, but anything that happened before this, it's not going to actually have that move in there just yet. Okay, so if we move our playhead back to the beginning, let's see what's going on. Okay, well we've got the move happening here and then boom! Our logo is actually moving across the scene.
Now that track looks relatively okay, but just so you know, if you need to tweak individual points, like let's say one of the points is kind of out of sorts and just not in the right place, you can turn on Automatic Keyframing and just move that one point. And as you move that one point, the keyframe will keep that so it will pop and move based on that change that we've just made. Now, I don't like that so I will just undo that last move. And also when you do this Match Move, sometimes you can't figure out exactly where it started.
So if you press Command+8, this will allow you to see all the keyframes that you've created based off of this track. So I'll move right to the start of our track, which I believe is right here. Perfect! With this, I want to analyze going the opposite direction, so let's turn on Reverse, and we can click Analyze. Now this is going to analyze back in the Timeline and even though I'm overlapping some of the keyframes, it should be perfectly fine when we go to analyze this.
Now this is taking a little bit longer to do this because it's giving me a preview of all the keyframes that it's creating as it's doing the analysis. But now if we deselect our behavior, press Command+8 to hide our keyframes, we can press the spacebar and you'll see that we've got our track actually moving through the scene. Now it does end a little bit here, and I could go in and tweak this a little bit more by manually adding the keyframes, but I think I'll just keep this by doing Command+Option out, and this way we have our track and it's stuck right from the beginning.
Notice as I'm scrubbing here, I get a few frames before the track actually happens. So I'll just trim the in point there. Okay. So the only thing left is to literally match this in using a combination of transparencies and blend modes. So just to cover that really quickly, in the Inspector, under Properties, you can change the Blend mode to something like Screen, if you want the darker areas to kind of wash out and match in. So if we did Screen and then brought the Opacity down quite a bit, you will notice yeah, it looks kind of faded, but it definitely looks like it matches where it's been painted a little bit more.
So as you can see, when it comes to doing a four-corner match move, sometimes it's a question of tracking forwards, sometimes it's a question of tracking backwards, and if worse comes to worse, you can always turn on Automatic Keyframing and literally move each corner and then move a frame down and move each corner and go through the process and do things manually.
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