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Painting in Motion


Motion 3 Essential Training

with Ian Robinson

Video: Painting in Motion

One of the exciting new features in Motion is Paint, and you can use Paint to create a wide variety of motion graphics. From things like these flowing light strokes, all the way to something a little more graphic, like this growing vine. So let's get started. If you don't already have it open, we are in the 01 Paint project, and to use Paint, hit P on your keyboard or come to Create, and select the Paint Brush tool. Open your HUD, F7, and let's look at the options.
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  1. 6m 42s
    1. Welcome
    2. Why use Motion?
      1m 49s
    3. Important definitions
      2m 22s
    4. Using the example files
      1m 40s
  2. 23m 53s
    1. Launching Motion for the first time
      2m 0s
    2. Understanding the Motion interface
      3m 20s
    3. Navigating the Canvas
      5m 25s
    4. Controlling the Timeline
      3m 29s
    5. Using the Toolbar
      3m 0s
    6. Setting essential preferences
      3m 36s
    7. Customizing your keyboard
      3m 3s
  3. 25m 19s
    1. Adding outside assets
      4m 14s
    2. Using Library content
      2m 56s
    3. Working with layers
      6m 58s
    4. Working with groups
      5m 33s
    5. Using blend modes
      5m 38s
  4. 35m 19s
    1. Adding and adjusting behaviors
      4m 1s
    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 26s
  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 49s
    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 12s
    6. Creating your own text preset
      2m 6s
  7. 15m 58s
    1. Applying and adjusting filters
      7m 0s
    2. Applying multiple filters
      4m 16s
    3. Being creative with filters
      4m 42s
  8. 8m 45s
    1. Understanding different types of keying
      2m 8s
    2. Pulling a simple key
      6m 37s
  9. 23m 24s
    1. Creating simple shapes
      6m 21s
    2. Adjusting shapes
      6m 0s
    3. Creating simple masks
      2m 33s
    4. Creating a tracking mask
      3m 24s
    5. Creating a complex mask
      2m 14s
    6. Creating image masks
      2m 52s
  10. 6m 48s
    1. Applying and adjusting generators
      3m 11s
    2. Generating a background
      1m 30s
    3. Generating a transition
      2m 7s
  11. 17m 29s
    1. Understanding particles
      2m 4s
    2. Creating basic particle systems
      5m 17s
    3. Making complex particles
      6m 12s
    4. Modifying particle behaviors
      3m 56s
  12. 17m 56s
    1. Replicating objects
      5m 5s
    2. Animating a replicator
      4m 32s
    3. Replicating a video file
      3m 30s
    4. Creating a lower third replicator preset
      4m 49s
  13. 14m 50s
    1. Painting in Motion
      8m 10s
    2. Sequencing paint stroke behavior
      3m 53s
    3. Applying paint dynamics
      1m 26s
    4. Painting from shapes
      1m 21s
  14. 26m 6s
    1. Using 3D space
      4m 51s
    2. Working with cameras
      3m 55s
    3. Using camera behaviors
      3m 40s
    4. Lighting a scene
      4m 55s
    5. Creating 3D text
      1m 53s
    6. Creating 3D replicators
      2m 27s
    7. Creating 3D particles
      4m 25s
  15. 14m 40s
    1. Applying Match Move: Four-corner pin
      3m 11s
    2. Applying Match Move: Transform
      1m 47s
    3. Working with stabilization
      2m 11s
    4. Retiming video
      4m 3s
    5. Retiming with behaviors
      3m 28s
  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 21s
    1. Sending your project to Compressor
      3m 34s
    2. Roundtripping between Motion and Final Cut Pro
      7m 10s
    3. Creating drop zones
      5m 27s
    4. Creating templates for Motion
      2m 18s
    5. Creating templates for Final Cut Pro
      1m 13s
    6. Creating DVD Studio Pro menus
      2m 39s
  19. 16s
    1. Goodbye

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Watch the Online Video Course 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
Ian Robinson

Painting in Motion

One of the exciting new features in Motion is Paint, and you can use Paint to create a wide variety of motion graphics. From things like these flowing light strokes, all the way to something a little more graphic, like this growing vine. So let's get started. If you don't already have it open, we are in the 01 Paint project, and to use Paint, hit P on your keyboard or come to Create, and select the Paint Brush tool. Open your HUD, F7, and let's look at the options.

We can change the brush color, for this demonstration right now, I am going to leave it at white. We can adjust the width, just by dragging, and you will notice you get an update just behind your cursor. Since we are on the Basic Solid, we don't have any pen pressure or pen speed options. But it does have full support for a Wacom tablet. With Write on checked, when you draw your Paint stroke, it will record your paint stroke in real-time. I generally leave Smoothing always checked, because it smooth out your paint strokes.

Down here there are ton of presets, but for right now, let's stick with the Basic Solid. Close your HUD for the time being and just draw a Paint Stroke, and pause right in the middle. Then restart. Let's open the Inspector, and make sure we are on the shape tab. Now select your timeline and hit your spacebar. And you will notice since I have the Write on behavior checked, the Paint stroke was recorded in real-time.

We go and pause the playback here for a second, so we can look at that specific behavior. If you click on the Behaviors tab, you will see we have a shape outline, and it's set to draw right now. If I pull that down to erase and rewind my playhead to the beginning, the strokes starts and then it will erase. I start playback, so I could show you draw and erase. It's pretty straightforward; it draws it on, and then it goes ahead and erases it. Let's rewind it back, change it back to Draw, hit your spacebar, so we can see the stroke, and here we can adjust things, such as the length of the stroke, it will actually just draw on that short segment, or the stroke offset, which is where the stroke actually starts.

It's playing forwards in the direction we recorded it. You can always change your mind, and said it to reverse, review playhead back to the beginning, and hit your spacebar just to check it out. Now that stroke we drew wasn't very smooth, so click on Speed and adjust it to constant, rewind your playhead and hit the spacebar, and you will see now it's playing back at one constant speed. Stop playback for a second, and change the direction back to forward. You'll see variety of options, let's check ease in.

Rewind your playhead to the beginning, and hit your playhead, and you will notice it, eased into the stroke. If you chose ease out, it will slowly decelerate towards the end, and I could go through all these options, but we have quite a bit to cover. So let's go to our Shape options, and in here you'll notice, the paint brush was recorded as a solid. We could change this to Airbrush or actually an image.

For this demonstration I am going to use an Airbrush, now the way the Airbrush works, it's kind of hard to see. But if you look at the Airbrush really closely, you will notice that it's made up of a bunch of little things called paint dabs. The way I illustrated those is by dragging the Spacing slider, and what this does is adjust the spacing between each one of the paint dabs. Obviously we can adjust the entire stroke's opacity, but it's more fun to mess with the brush profile. Go ahead and bring your spacing back up to around 80%, and the brush profile works in a similar fashion to the gradient tools.

Right now this is the opacity of the brush profile, so if you just click in the line, and select the opacity, well, you can adjust the opacity, and you will notice the way this works. The left side is the center of the paint dab, and the right side is the very outside edge. So as we adjust this center point, you will notice we will make the center either brighter or a little smaller. So let's go ahead and drag that out just a little bit, so you see the profile, is the profile of the individual paint dab, not the entire stroke.

The entire stroke is made up of a bunch of paint dabs. Let's close the brush profile options for now, and adjust the spacing back down. Now since we use the write on behavior, this paint stroke was already animated, if I rewind my playhead and show you, it's setup right there and we saw the behavior. But if you didn't have a behavior set when you drew the paint stroke, you can animate it using the first and the last point offsets. Just go ahead and keyframe either one of the offset points, and you will able to animate your stroke.

Let's look at some of the stroke options. Right now under the Stroke Column mode we are using the color of the brush. Let's choose color over stroke, and now you notice this we have our gradient options. If we open the disclosure triangle, you will notice here is our gradient, and at the top, again we have opacity options. But this is the opacity over the entire stroke. So if you click in the opacity section, we could make the stroke start to fade up. Go ahead and click on the left chip here and drag your opacity down, and we'll add a fade out as well.

So click here to add another opacity option, which is already at a 100, and click and drag to the right, to add one at the very end, and drag your opacity all the way down. Now you know we have a nice fade in and a fade out, the location just adjusts the location of the individual chip that you have selected. So let me drag that one more time, the location just adjusts the location of the chip that you have selected. Repetitions is this gradient and opacity information repeats throughout the stroke.

So you'll notice, since I have opacity information, it's actually created one, two, three, four separate strokes. Let's bring that back down, you can adjust the spacing of your dabs over the stroke using this graph tool. If you just click and drag on the line here, you will notice now there is more space in the center, versus the ends. Go ahead and undo that, because the option we want to mess with is, Width Over Stroke, go ahead and open that up, and you can grab your sketch tool, and click on the first one to set the first point, and click up here to set another point.

And you notice now, at the beginning it's rather small, and if you actually click and drag, you can draw your own custom points here. So you notice, we have small to large, to small to large, go ahead and close Width Over Stroke. Brush scale to just adjust the overall scale, brush scale random, obviously makes all the different scale values random. So you can make some pretty organic shapes, drag that up to 200, rewind your playhead to the beginning, and hit your spacebar, and just look at what that looks like.

If we click over to the Advanced tab, you will notice there is support for Wacom tablet, if I actually had a Wacom pen, the harder I would push, the more it would adjust the width, but I can have that changed to opacity or spacing or the angle of the stroke or even the jitter. Set your paint dabs more or less depending upon your pressure. Now there are more options that we will cover in the next movie, to creating a paint stroke in Motion.

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 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:
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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