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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.
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.
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