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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.
The Sequence Paint Behavior can do an awful lot to add life to your paint strokes. If you don't already have it opened, we are on the 02_Sequence Paint Project. Now select your paint stroke and hit F4 to open up your options. Change the brush type to air brush, because the Sequence Paint Behavior only works on air brush and image brushes, because they are actually made up of multiple objects. The solid brush obviously being one solid, wouldn't work with the sequence, because there is nothing to sequence. So change it to airbrush, and go up to Add Behavior, Shape and choose Sequence Paint.
Now it's asking us what perimeters we would like to add? Let's add color, we want this color to sequence through the paint stroke. Go ahead and change your color to something red, just right click in the drop layer and change it to red. Now the image size of the individual paint dab, go ahead and hit your spacebar and let's see what that looks like. I am going to stop playback and change it so we have more loops get completed before the end of the paint stroke and I would like to actually wrap back around.
So once that color is gone to the end of the stroke, it will wrap back up to the start of the stroke and start over. Now hit your playhead and watch what's happening, so as you can see the colors now stroking through the paint stroke, this is great for the airbrush. Let's go ahead and pause play back, and change up paint brush to image. Hit F5 to open your Layers tab, and open the disclosure triangle for the violin, reselect your paint stroke and drag and drop the violin into the brush source, and let go.
Now you should see teeny tiny violins here, so we just need to make their width a little bit larger, and we can bring the spacing closer together. So now we have a bunch of violins altogether in this stroke, so you go back to your behaviors tab, and this time let's add a rotation, and you notice, when you add the rotation it is going to keep the same sequence options. Go ahead and hit the spacebar and drag your rotation around to, around 180 degrees, and you hit Shift+Z, so your canvas resizes to fit, and you will notice, now the violin is actually rotation 180 degrees, and it's wrapping back around.
That's why you see now it's finishing its rotation. So let's adjust the Spread, bring the Spread down to around 34, and now you will notice it's completely rotating 180 degrees, and then bouncing back. Stop playback just for a quick second, let's say you want to change how the paint stroke is on the page, well we need to actually adjust the shape of the paint stroke under the geometry section, and you will notice the shape type is Bezier. So if we click and hold and grab our adjust control points tool, you will notice, you can actually see the control points that were created by painting the brush stroke.
And the same command you'd use for any Bezier handle supply here. So if you hold down command and drag, you will get your Bezier handles, and you can make them very long, and you can adjust accordingly. So click back in your Layers tab, hit the spacebar, and now you have the basics of sequence paint, and if you don't quite like how it's laid out, you know a little bit about how to change the shape of the original paint stroke.
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