Polishing the animation and timing
Video: Polishing the animation and timingOkay, we're continuing on with our motion graphic title build, and if you've been hanging with me through this marathon, I want to say thank you, and just sort of remind you that the creative process in and of itself is a little more fluid than this, because imagine you're sitting in front of your computer and you are kind of going, "Oh, okay, yeah, I think I want to create this," and then you just start creating it. So it is a little bit more organic process, but I do kind of want to take you through the entire title, so you can see exactly how much went into building all of these different elements.
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In Motion: Principles of Motion Graphics, Ian Robinson shares the core concepts and techniques used to create real-world motion graphic elements in Apple Motion. The course starts with finding the initial inspiration for a project and then covers how to bring those ideas to life using the tools in Motion, including type treatments, filters, textures, and lighting. Two projects demonstrating how to animate a title sequence and how to assemble a graphics package are also included. Exercise files accompany the course.
- Shortcuts for previewing and setting type
- Using type as a design element
- Creating dynamic transitions
- Creating and using color palettes
- Working with particles to create depth
- Adding details with lighting
- Integrating audio in a project
- Editing techniques
- Animating a lower 3rd
- Animating and styling a map
- Building a storyboard
Polishing the animation and timing
Okay, we're continuing on with our motion graphic title build, and if you've been hanging with me through this marathon, I want to say thank you, and just sort of remind you that the creative process in and of itself is a little more fluid than this, because imagine you're sitting in front of your computer and you are kind of going, "Oh, okay, yeah, I think I want to create this," and then you just start creating it. So it is a little bit more organic process, but I do kind of want to take you through the entire title, so you can see exactly how much went into building all of these different elements.
So in this video, we are going to polish our final animation. We'll time everything out, and we might have to add one or two more graphics, but for the most part, the majority of the title is built. So, let's see where we are at. Go ahead and preview the animation. So, I am liking what I'm seeing so far. So obviously we need to tweak that one section, and then obviously add the end. So let's get started by looking at the camera move here, because I think something is going on.
So press F5 and open the Open Animation group here, and with the camera selected, let's go ahead and open up our sweep, and yeah I thought so. So the sweep is taking place over the length of the comp, but our Dolly move is actually stopping right here at 5:04. So I want to go ahead, I'll just trim the entire camera. So with the Camera selected, just press O, and now the sweep and the dolly should all end at the same time.
Now, let's see how that change the pacing of this move. All right! That's much better. I know I have a little bit of a pop there in the move, so let's go ahead and look at our behaviors. In the Inspector, under Behaviors, the Dolly Speed is set to Constant. So let's go ahead and say Ease Both and then same thing here with the Speed for the move in on the sweep. Now, I'm doing this so the camera moves actually smooth out.
Now if we watch this, it shouldn't be nearly as bumpy as it was before. There we go. That is actually looking really nice. So, now let's look at our red spots. If we go ahead and select our spot transition here, we can check out our start point and I think that's okay. See here, I think, yeah, this is the section we're going to actually build a graphic element in here, so let me go ahead and deselect all the layers.
I want you to see what's going on. So can you see these gray lines in the middle here? Those were the white lines that actually drew down. Now, when the camera starts moving off to the side, it creates kind of an interesting effect and a neat motion. So what we need to do is actually add a white line in here sort of in the center that will line up directly with the lines that had flipped down. So let's go ahead and reposition our playhead here so we can see the line, and I just want to create a new layer for this, so let's select our Group layer here and just click the Plus button. And now, since I want a straight line, I'll just go ahead and use the Bezier tool, the sharp one at the top here.
Now, if we go ahead and move our mouse over the canvas, you can see that we can click our line. So click here on the left side. We want it to start off the canvas. And then reposition your mouse on the right-hand side there and hold down Shift and when you click, now we have a perfectly straight line. So to actually give it some width, let's go ahead and grab our Selection tool and go to the shape layer in our Contextual menu under the Inspector, and now change it to Outline, and let's make sure the Width is at least 10. Okay.
So I don't want this line to start right here; I want it to kind of slide on from the right and go off to the left. So let's trim the in point of this line. Let's have it start right around here, so I'll go ahead and press I to trim the in point. And since I want this to be a transitional element, let's choose our out point here. So it's safe to say that we wanted to bring on the red dot, so let's go ahead and drag it right to the end of the red dots here. 7 seconds. So, go ahead and press O to set your out point.
Now, I know we haven't really set much animation to this. I'm getting a little bit of animation, just because of the camera that's in the scene, but I think that's okay. What I want to do is keyframe the width of this line to grow, so the screen kind of flashes to white as we reveal all these dots. So why don't we go ahead and add our keyframes here? So, if you move your playhead back to the beginning, you'll notice that the line is in fact moving with the camera. Now, we need to fix that because the camera ceases to exist right around here and I want the line to continue on, so let's go ahead and change the line from a 3D layer to a 2D layer.
Now, I know that sort of change things as far as the line going all the way across the page. That's fine. All we need to do is select the Bezier path, and in the Shape tab, go to the Geometry section. If you notice, I can just click and drag on the X point for Point 1 and do the same thing for Point 2, and that way we can make sure it extends all the way off of the canvas. Now, we just need to actually animate the appearance of the Bezier path, so let's move our playhead back to the beginning, and let's go to the Style section of the Shape tab.
Now if we click and drag on the First Point Offset, notice that's actually controlling the line appearing on the page. So let's move this off of the page and then set a keyframe. So click on the Keyframe pulldown and click Add Keyframe. Now, let's move our playhead a little further down the Timeline, because I want this line to draw in and then get really, really big and close to the camera to help bring in these red circles. Let's add our next keyframe here.
I'm just kind of eyeballing this, but if you go ahead to your Keyframe option here, go ahead and click and choose Add Keyframe, and now we can go ahead and bring our first point back onto the page. So now if we scrub through, you notice the line actually comes into the scene, and we can see the dots come into the scene. So in order to have the line look like it's zooming towards the camera, let's add another set of keyframes. So if we move our playhead back towards around 5:03 here, now we can go ahead and animate the width of the line.
So same process as before. In the Width area, go ahead and click on the Keyframe pulldown and choose Add Keyframe, and now just move your playhead to the end of Bezier 1, and we'll add our second keyframe for width here and just crank this right up to 1920. Now, I chose 1920 just because that's ginormous, and that way I can definitely know that this whole area is going to be covered in white. So if we go ahead and scrub back here, you can see now, cool, I have got this line coming in, and it zooms up and fills the screen with white.
Now it will disappear in a second here, but we'll deal with that in a moment. So since I added keyframes, let's make sure we have the Bezier selected and press Command+8 on our keyboard to open the Keyframe editor. So if we look in the Timeline, we have this first keyframe here, but that's perfectly fine. Notice the animation looks great. All we need to do is actually smooth out the transitions for these animations. So let's select this first keyframe here and just right-click on it and go to Interpolation and say Bezier. There we go! There, now it's going to move in, and we can do the same thing down here at the base.
That way we've just assured that they're all set to that. Now, it should move in and transition up quite nicely. So, let's preview our animation. I am just going to deselect all the layers here and just preview our animation. Okay, I think that's looking pretty good. Let's go back to the Timeline, and now we need to add our end transition. So we can minimize the Spot Transition layer for now and our Group layer here, and let's close our Timing pane just for a second.
Now, I want the title that appeared at the beginning here to actually reappear here at the end. So let's choose an in point. I like titles to typically have at least 3 seconds on the screen, so move your playhead to 7 seconds, and let's just duplicate our R & R Title group layer. So just select it in your Layers tab and press Command+D. Now, we can move that all the way up to the top of our layer hierarchy, and let's expand that layer and just check to see how long everything is. Perfect.
It's the entire length of the comp. So, let's press I to set our in point. So if we move off of our transition, notice we still can't see the title and that's because the title exists in three-dimensional space. So let's go ahead and turn that off for this layer. So here we can see now we have the animation come in, and our spots are in, and then we can see our remodel pop into the scene. So as we scrub through here, we need to add our box animation one more time, so let's go to the Open Textures layer and just press Command+D to duplicate, and drag that all the way up to the top of our layer hierarchy. And then since we want the title on top of it, let's change the Open Textures to a two-dimensional layer and move our title up to the top-- there we go--and reselect our texture, and we just need to slide this down to start at the end of the Timeline.
Now, with our Open Textures layer all the way at the end of the Timeline, we can move its in point forwards if we actually have to change the timing at all. So let's bring the start point of that layer forwards in the Timeline. We'll go ahead and see if we can overlap our transition a little bit here. So now, if we scrub through, we have our white layer and then we have our remodel actually coming in to resolve our title. Now, since this is the end and not the beginning, let's go ahead and tweak how these boxes appear on the screen.
That's going to be a very quick easy fix. If we just open the Replicator and select our Sequence Replicator Behavior, we can change the Origin from Center to Lower Right. So if we scrub back through the animation, you can see we finally have our Timeline covered with all of our graphic elements. Let's view our progress and see what's going on.
So everything looks perfect, except for this one section here where the white area is and then it just randomly disappears. And the easiest way to smooth that out, we can just add a black layer and fade it in above our red circles, but below our Open Textures. So select the Spots Transition, add a new group layer, and we'll make sure that it exists in two-dimensional space, and just click the Create tool and we'll create a rectangle, just draw it out over the size of our canvas here, and make sure to change its fill color in the Shape tab to black.
We can close that, and now to fade this in, what we need to do is position to where we want this layer to start fading in. So, let's move it to around 6:14 and press I. So now let's move our playhead just in front of that. That would be perfect. So now all we have to do is go Add Behavior > Basic Motion > Add a Fade In/Fade Out, and let's change the fade-out because we don't need this to fade out, but we can leave the fade-in to 20 frames. So if we scrub to check our work, you can see that it's almost worked, but I think we need to actually change the in point of the rectangle just a little further in on the composition.
So now let's just scrub through, and we can see, okay, that's obviously little too far. There we go! That's about right. So to give you an in point here, slide it to around 6:04, and let's make sure the black solid goes all the way off the right side. Now, I know this was a bit of a process, but again, I thank you for following through because, again, designing is organic, and in the normal creative process you would just bang through each one of these individual elements, but for now, go ahead and sit back and enjoy the finished, rendered title animation.
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