Start learning with our library of video tutorials taught by experts. Get started
Viewed by members. in countries. members currently watching.
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.
Retiming video footage is one of the great ways you can draw attention to a specific area without necessarily having to layer a bunch of filters and effects. It's actually kind of fun in Motion because there are retiming behaviors. That's not the only way you can retime footage in Motion, but I have to say, it is one of the most fun ways to retime. So just to show you, if you select any video clip in your Motion project, in the Inspector, you can always go to Properties.
In the Properties area, down at the bottom, there is a parameter for Timing, and if you go over to the right and click Show, notice there are options to enable time remapping. When you choose Variable Speed for Time Remapping, it gives you a value for every single keyframe. So as I drag my playhead here, notice it's giving me a value for that keyframe. So if I drag to frame 1:11, it's telling me the value of that is frame 42.
Well, if I view my time in frames, you notice there is a direct correlation. In adjusting this timing, basically all you're doing is setting keyframes. So if you want to use variable timing in the Inspector, by all means, just turn on Automatic Keyframing and adjust the Retime Value. It's just a little abstract when you're working with things to understand exactly what happening all the time. Let me show you what I am talking about. If I click and drag the Retime Value, which is 42, if I make it less, let's say I make it 24 frames, now what do you think is going to happen to all of the frames everywhere else? If you think about it, it's going to play back slower from the first frame to this frame. And then from this point on it's kind of actually have to play back a little bit faster, so when it gets to the end of the clip, it'll actually be playing the last frame.
I have retimed the footage, but in my opinion I haven't done it in a way to where I have really finite control, because I'm literally making adjustments to all the frames when I'm really trying to only deal with a specific section of frames. Now there is one last thing I want to show you in this area and that's down here under Frame Blending. If you've slowed down your footage-- actually, let me show you what the footage looks like. I'll move my playhead to the beginning and play it out. (music playing) So you notice it slowed down for this one section, but anytime you slow down footage you're going to need to have Frame Blending.
Now one of the advantages of adjusting your retiming in the Properties Inspector is the fact that you can choose exactly what frame blending you want to use. If you're looking for super-high quality, I would choose Optical Flow and pretty much leave it at that. So when you choose Optical Flow, the software is going to analyze pretty much every pixel in the frame and adjust accordingly, whereas if you just leave it for nothing, it's going to try and blend frames based on the entire frame. And I know that sounds a little vague, but honestly the easiest way to think about it, Optical Flow is going to give you the best results.
These other ones are kind of intermediary in terms of how they blend together. So by all means, click around and make adjustments. Making adjustments this way is kind of fun, but really the fun is with the behaviors. So let's turn off Automatic Keyframing for now and go to Time Remapping and reset it back at a constant speed. Now just before you jump to behaviors you can set constant speeds like, okay, I want that footage to play back at 37%, and now when we play it-- (music playing) --it's just going to play back in slow-mo.
So let's set that up to 100% and go back to our Library here, so we can investigate some of the behaviors. So if you go to Behaviors, there is a section for Retiming, and again part of the reason I love using the Library is the fact that you can get previews up here in the top. So Flash Frame could be kind of fun to introduce in here, but I want to use Reverse. Now the reason I want to use Reverse, it plays a clip backwards.
Now if we look at our Timeline here-- I am just going to stop that Preview-- as we play, you will notice there are markers applied to the audio channel. So if I begin playback by pressing the spacebar, you'll notice they line up on the beat. (music playing) So I want the retiming to actually happen at these different markers. So I'll move my playhead to this purple marker here, and we'll choose Reverse and just drag and drop it.
The default option for Reverse here, notice when you apply it, it reverses the entire clip. And if I scroll down in my Timeline here, you can see I have my reverse behavior. If you press I to trim the in point of that behavior--there we go-- now that I've trimmed the In Point, you notice, okay, it's going to play, it's going to play, and then all of a sudden, bang, there is some other frame. Well, let's drag down the Timeline and press O and see what happens. (music playing) In essence, with the reverse behavior what it's done is cut this clip right here, lifted that one section, and literally reversed all those frames that live inside that reverse behavior.
Now if that's the effect you are going for, that's pretty cool, but I just wanted the footage to start playing backwards here, so not really reverse. I want to use Ping Pong. See, it alternates the playing segment of the movie backwards and forwards. That's exactly what I want. So I'm actually going to use this Reverse down here, and I can trim its start point and out point by dragging it in the Timeline. And if you notice Snapping, if you want to turn Snapping off, just press N on your keyboard.
It won't snap to anything. Okay, so let's apply Ping Pong by dragging and dropping. Now move our playhead to this purple marker and press I to trim that in point. I want this to play out here for a little bit, and then maybe here I want it to begin playing back again. So let's press O to trim the out point. If we watch our clip, you can see what things look like. I'm just going to deselect all my layers. (music playing) Kind of cool, right? In my opinion, working with retiming behaviors is something that's fun and should be easy to use.
So I encourage you to continue to drag different behaviors onto the clips and see what you can come up with. If you are trying to add more energy to the clip, you might want to look at something like Strobe; if you want things to kind of be a little more disjointed, look at something like Stutter.
There are currently no FAQs about Motion 5 Essential Training.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.