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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.
For me animating cameras has always been a little bit of a challenge, but honestly, with Camera behaviors, they have really made my life a lot easier. So to show you exactly what I'm talking about, let's open the Library and preview some of the camera behaviors. Make sure you are under the Camera section in Behaviors and let's click on Dolly. You notice it moves the camera forward or backward in 3D along its Z-axis. So let's go ahead and apply that to the camera. I'm going to press F5 to open the project pane and drag Dolly directly on to the Camera.
Now with that behavior selected, it won't do anything, until you open the HUD and actually set a Distance. So I want it to move 339 pixels. You can choose something random if you like, I'll just choose 339. You notice by default, this behavior goes the entire length of the composition. Now I want this move to happen over the first couple of seconds. So I'm going to drag my playhead to frame 48 and press O. You'll notice the canvas jumped a little bit, and that's because of how this behavior is designed.
Dolly is designed to actually get you to a specific point by the end of the behavior. So as we retime the behavior, the end point will always be 339 based on this setting. So let's move our playhead back to the beginning and press Play with the playhead. You notice we have a nice move there. I don't like how it's just kind of stopping when it reaches the end of the behavior. So I'm going to change the Speed to Ease Both, and that will give it a much more natural move sort of like accelerating and then stopping in your car where you'd start from a stop and slowly accelerate, and then put your break on and slowly decelerate.
There we go. It's a nice little move. Let's move our playhead back towards the end of Dolly, and look at some of the other behaviors. Both, the Focus and Framing behaviors, we'll get to in another video. So let's move down to Sweep. This rotates the camera around an axis. Let's apply that by dragging and dropping it directly to the Camera, and you notice immediately again our view changed because this behavior defaults to the entire length of the comp. So press I to trim the behavior, and if it's not trimming, just select it in your mini-timeline, then press I.
Now again, I only want this behavior to happen for a few seconds. So I'll drag my playhead down to around 124 and press O, and there is no real rime or reason behind these, I'm literally just randomly dragging down the timeline. So feel free to choose your own timings. This Sweep is a little drastic. So I'll move the number back down to around 18, move the playhead back to the beginning, and let's see what happens as these behaviors get applied.
Notice the jerky motion for this. It's because the Speed is set to Constant. So again, we can set this to Ease Both, move our playhead back to the beginning and press Play. Now as you are applying multiple behaviors to your Camera, you don't have to worry whether or not they are overlapping. So to show you what I mean, let's open the timing pane by pressing F6 on your keyboard, making sure you are actually in the Timeline tab. Let's drag the In point of the Sweep behavior to overlap the Dolly a little bit.
Now let's move our playhead back to the beginning, and press Play and look what happens. They blended seamlessly together. This little feature is wonderful. I love the fact that you can actually blend behaviors. As long as the speeds are set properly, you can adjust things kind of however you want and the whole animation process is very organic. So let's go to the Axis option. I just want to show you this with Sweep because Roll Z is one of my favorite things to do. Let's move the playhead back to the beginning and then we'll notice that push in and now we are actually rolling in Z, which I really love that.
So I'm going to leave it. So we have blended multiple camera behaviors. Now we are going to cover Focus end Framing in other videos in this chapter to go ahead and feel free to check out some of the other behaviors, to see what you can come up with.
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