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Motion 4 Essential Training
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Retiming video in the Inspector


From:

Motion 4 Essential Training

with Ian Robinson

Video: Retiming video in the Inspector

One of the great features Motion stole from Shake is optical flow and that's really the engine that powers retiming footage in Motion. So it's important before we get started with this lesson to make sure that we have some settings correct in preferences. So go up to Motion, in Preferences and let's set our Cache. At the bottom we have Optical Flow Retiming. We want to make sure to choose a folder to save the cache that gets build up as Optical Flow computes the different images.
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  1. 6m 52s
    1. Welcome
      1m 0s
    2. Important definitions
      3m 5s
    3. What's new in Motion 4
      1m 51s
    4. Using the exercise files
      56s
  2. 45m 38s
    1. Launching Motion for the first time
      2m 20s
    2. Understanding the Motion interface
      4m 43s
    3. Understanding the Utility window
      5m 50s
    4. Understanding the toolbar
      1m 57s
    5. Navigating the Canvas
      4m 37s
    6. Working with layers and layer groups
      4m 52s
    7. Using the Project pane
      2m 42s
    8. Transforming objects
      3m 41s
    9. Controlling the Timeline
      4m 27s
    10. Using the HUD
      1m 27s
    11. Essential preferences
      2m 37s
    12. Customizing the keyboard
      4m 14s
    13. Getting smooth playback with RAM preview
      2m 11s
  3. 28m 52s
    1. Adding assets to Motion
      3m 12s
    2. Adding QuickTime movies to Motion
      3m 30s
    3. Adding still images to Motion
      3m 23s
    4. Adding image sequences
      3m 23s
    5. Adding layered Photoshop files
      2m 40s
    6. Adding Illustrator files
      2m 12s
    7. Using the Library
      3m 14s
    8. Understanding and using blend modes
      5m 39s
    9. Adding text
      1m 39s
  4. 13m 19s
    1. Creating and adjusting shapes
      7m 41s
    2. Creating simple masks
      2m 36s
    3. Creating masks with objects
      3m 2s
  5. 42m 24s
    1. Adding and adjusting behaviors
      5m 49s
    2. Adding parameter behaviors
      4m 2s
    3. Applying behaviors to layers and groups
      5m 16s
    4. Adding multiple behaviors
      7m 39s
    5. Exploring the power of the Link behavior
      5m 2s
    6. Trimming and sliding behaviors
      5m 18s
    7. Saving custom behaviors to animate stills
      4m 24s
    8. Using shape behaviors
      4m 54s
  6. 25m 3s
    1. Adding keyframes manually
      6m 10s
    2. Using the Record button
      6m 38s
    3. Manipulating keyframes with the Keyframe Editor
      6m 59s
    4. Combining keyframes and behaviors
      3m 33s
    5. Working with recording options
      1m 43s
  7. 26m 38s
    1. Adding and formatting text
      5m 35s
    2. Using text styles
      4m 33s
    3. Formatting text with the Adjust Glyph tool
      4m 8s
    4. Animating text with the Adjust Glyph tool
      4m 23s
    5. Creating text on a path
      3m 35s
    6. Using text behaviors
      4m 24s
  8. 22m 4s
    1. Stabilizing shaky footage
      4m 7s
    2. Match moving: Transform
      3m 56s
    3. Match moving: Four-corner pin
      4m 44s
    4. Retiming video in the Inspector
      5m 49s
    5. Using retiming behaviors
      3m 28s
  9. 11m 41s
    1. Applying and adjusting filters
      2m 46s
    2. Applying multiple filters
      8m 55s
  10. 8m 13s
    1. Pulling a luma key
      2m 42s
    2. Pulling a chroma key with Primatte RT
      5m 31s
  11. 11m 29s
    1. Applying and adjusting generators
      3m 25s
    2. Using the text generator
      4m 15s
    3. Generating a background
      3m 49s
  12. 19m 9s
    1. Creating basic particle systems
      10m 58s
    2. Using particle presets
      1m 51s
    3. Creating an advanced particle system
      6m 20s
  13. 13m 25s
    1. Replicating objects
      4m 52s
    2. Animating a replicator
      4m 53s
    3. Replicating a video file
      3m 40s
  14. 49m 46s
    1. Working in 3D space
      5m 11s
    2. Working with cameras
      8m 6s
    3. Viewing a 3D scene in different layouts
      2m 56s
    4. Creating depth with lights and shadows
      8m 22s
    5. Simulating depth of field
      3m 54s
    6. Using camera behaviors
      4m 7s
    7. Animating cameras with camera framing
      6m 8s
    8. Create interest with the Focus behavior
      1m 52s
    9. Using reflections and highlights
      5m 13s
    10. Creating particles in 3D
      3m 57s
  15. 20m 31s
    1. Using the Paint tool
      6m 1s
    2. Using advanced paint tools
      8m 9s
    3. Applying paint presets
      1m 51s
    4. Sequencing paint with the Stroke behavior
      4m 30s
  16. 9m 3s
    1. Adding and adjusting audio
      4m 37s
    2. Animating to music with the Audio Parameter behavior
      4m 26s
  17. 11m 52s
    1. Sharing files
      3m 36s
    2. Exporting files
      3m 15s
    3. Creating an export preset
      3m 0s
    4. Archiving your project
      2m 1s
  18. 15m 30s
    1. Round-tripping between Final Cut Pro and Motion
      4m 24s
    2. Sending your project to Compressor
      1m 59s
    3. Creating drop zones
      3m 0s
    4. Creating templates for Motion and Final Cut
      5m 2s
    5. Importing Motion projects into DVD Studio Pro
      1m 5s
  19. 22s
    1. Goodbye
      22s

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Motion 4 Essential Training
6h 21m Beginner Sep 11, 2009

Viewers: in countries Watching now:

In Motion 4 Essential Training, Ian Robinson shows how to start building outstanding motion graphics and animations for video production. He demonstrates how to build custom text animations with the new Adjust Glyph tool and explores Motion’s amazing real-time 3D tools. Ian highlights working in the 3D space, creating depth with lights and shadows, and using reflections to add realism. He gives practical advice on how to integrate Motion into a professional video workflow, round-tripping with Final Cut Pro and sending a final project to Compressor. Exercise files accompany this course.

Topics include:
  • Understanding the toolbar and setting the essential preferences to get started
  • Adding .mov files, still images, and Photoshop and Illustrator assets to a project
  • Animating with behaviors and keyframes
  • Creating 3D animations with lighting accents, shadows, and reflections
  • Creating simple and complex particle systems
  • Creating real viewer interest with Focus Behavior and the 3D Camera Framing behavior
Subject:
Video
Software:
Motion
Author:
Ian Robinson

Retiming video in the Inspector

One of the great features Motion stole from Shake is optical flow and that's really the engine that powers retiming footage in Motion. So it's important before we get started with this lesson to make sure that we have some settings correct in preferences. So go up to Motion, in Preferences and let's set our Cache. At the bottom we have Optical Flow Retiming. We want to make sure to choose a folder to save the cache that gets build up as Optical Flow computes the different images.

When you slow down footage to a certain degree, let's say it's 24 frames a second footage and you slow it down and the computer has to play it back at 12 frames. Optical Flow has to actually generate the extra frames in between to create the image and this is actually one of the most powerful engines in the industry and it does a really good job doing this. But obviously, when you slow things down, everything has a breaking point. So just kind of keep that in the back of your mind. So before we get started, make sure to choose a folder on your hard drive or an external drive to save your cache.

Go ahead and close your Preferences, let's select the footage and press Play. And it takes quite a while but eventually you'll see this little runners appearing over the hillside. I'm going to stop playback just for a second. I set the play range to be the shot on purpose because I would like the move to actually be finished by around frame 300. And you'll notice this clip is a lot longer than that section. And this is actually a really good thing.

When you're retiming footage, it's always nice to sort of have extra frames. Move your playhead back to the beginning of the Timeline and let's open the Inspector. In the Properties section at the bottom, you should see Timing. And by default Time Remapping is set to Constant Speed. So anytime you drop footage in your canvas it plays back at normal speed. If you click on the pop-up menu, let's change this to Variable Speed. Now you notice Motion has already added a keyframe. You can see that because of the black diamond here.

Now as I move my playhead around and make changes, I want to make sure more keyframes are added. So make sure to turn on automatic keyframing. Press the Record button there and you know automatic keyframing is on because you see the pink in the different value sliders. Well, for some reason, these aren't pink, but I wouldn't worry about it. It's definitely recording the keyframes. Let's move our playhead down to around frame 48. This is why I want the runners to be fully in screen but still kind of off to the left-hand side here.

So in order to bring the runners on screen, this Retime Value is actually the frame number of the clip that we are retiming. So the playheads are on frame 48, the Retime Value is on 48, we are seeing frame 48. Let's click-and-drag in the Value slider way, way up. Okay, let's drag it to around 950. Now, what's happening, in 48 frames this footage is going to be retimed to play 950 frames.

Let's move our playhead back to the beginning so we can watch that. Press Play. That's pretty cool but now they are slowing down way, way, way, too slow. So let's stop playback for a second and open up the Keyframe Editor, Command+8 on your keyboard. Here in the Keyframe Editor, you can see the velocity is pretty much flat. So let's move our playhead towards the end of the clip here and click-and-drag to change the Retime Value, let's have the guys go completely off the screen.

Now if you notice it's still going to be pretty flat, I think that's probably a little too slow, so let's decrease the value on the Keyframe Editor just by clicking on this individual keyframe and dragging it directly down. Now I'll move your playhead back to the beginning and press Play, and you'll see the guys coming and they slow down a little too far away. So let me undo that. We'll just move it a little bit back up again. There we go. It's kind of a meet ground, move your playhead back to the beginning and press Play.

This is looking great. Now there is one last thing that we want to check and that's at the bottom of the Inspector. Go and stop playback for a second and let's look at these guys. Right now, there is no Frame Blending on. So what's happening, the computer just randomly slowing the footage down and whatever footage is there, it's showing me. Now we have three choices. We can turn on Blending. Let's see what that looks like. You notice it's blending the different frames so it may be taking frames from two or three frames ahead and two or three frames behind, and blend them altogether to create one frame.

Let's look at Motion-Blur Blending. You see a difference there. It's very slight. Let's move our playhead back in the Timeline a little bit so we can see a little more with this first guy. There is Motion-Blur Blending. There is Blending. It's minimal but I kind of like the Motion-Blur Blending. Now the last option is Optical Flow. When you turn this on immediately you'll get this little progress wheel and that's letting us know that Motion is now starting to cache the extra files it's creating in that area that we reset in our Preferences.

As I'm looking into image, it looks pretty good but honestly I think, I like the Motion-Blur Blending option a little better. So let's go ahead and change that back, turn off our automatic keyframing, move our playhead back to the beginning, close the timing pane, Command+8 and press Play. So we have just completed retiming in the Inspector and I hope you've learned a little bit about optical flow in the process.

Find answers to the most frequently asked questions about Motion 4 Essential Training.


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Q: In Motion 4, is it possible to create an intro with multiple pictures, where some pictures enter from the left side and some from the right side of the frame, with all fading as they approach the center of the canvas?
A: The effect described is a very specific move utilizing 3D space.  One effective method is to work in true 3D space, instead of trying to use a behavior, by keyframing the animation. Try these steps:
  1. Place a camera in the scene and switch the scene to 3D. 
  2. Rotate the first image to an angle that achieves the desired effect, and slide it on the X axis until it is out of the scene on the right of the stage. 
  3. Turn on Auto Keyframing and make sure a keyframe is recorded for the rotation and position. 
  4. Move the playhead down the Timeline and move the picture to it's ending point and adjust the rotation a little for the end. 
  5. To get the image to disappear, adjust the camera's far plane of view, making sure to soften it so it has a smooth transition into oblivion. 
    Then simply duplicate the picture and change the rotation and position keyframes to the exact opposite values for rotation and position. 
Q: When attempting to change views as the instructor demonstrates in the “Viewing a 3D scene in different layouts” video, I only see the text in the Perspective view. When the instructor uses the Top and Bottom screen split, and uses the Top view, my screen does not show the four horizontal lines that represent the four words used in the tutorial.
Are there settings that need to be changes in order to view all the objects as demonstrated in the tutorial?
A: It’s possible that when viewing the project from different?angles, the letters may be sliding way out of the view area.
Here’s how to fix it: Whenever you can't see your objects in the?scene, select at least one of them in the Layers panel and then press?F or Command+F to frame the selected objects in the scene.
 
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