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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.
I have to admit it, when I am recording keyframes using the Record button, I get a little nervous. I mean, it's recording absolutely everything that you are doing. Luckily, there are some options built in that make life a little less nerve wrecking for me. Go ahead and double click the Record button, and you will see a couple of Recording options. The first one I want to talk about is Record keyframes on animated parameters only. Basically, this means if any parameter already has a keyframe applied to it, then it will continue recording keyframes just for that specific parameter.
So let's give it a shot. Don't check it yet. Click OK, because we need to add a keyframe to our baseball. I am going to turn the Record button off right now. So we are going to use this baseball to fly around the screen and check out some of our Record options. Let's get a keyframe on the Position data. Turn your Record button on and just drag your baseball. You will see, there is the red diamond in the middle, letting me know I have a keyframe. Now double click your Record button and check the Record keyframes on animated parameters only option, click OK, and turn the Record button back on, and now move your playhead down the Timeline, and just move your baseball around the screen; every time moving your playhead in between.
You will notice it's recording Position keyframes. But if you rotate the ball and move your playhead down the Timeline and then move your ball, you will notice, if you move your playhead back, its not recording any of the rotation data; that's because of that option. Go ahead and double click one more time. Uncheck the Record keyframes on animated parameters only, and uncheck Don't record keyframes during playback. This will allow us to record keyframes while Motion is playing in real time. Click OK, move your playhead back to the beginning, and open your Inspector and reset your Position Parameter.
Now hit the Record button, and hit Play, and start dragging your ball all over the screen. Go ahead and stop, and you will notice, in real time it has recorded all the Position keyframes. Double click the Record button one more time. Check the Reduced option and click OK. Go back and reset your Position Parameter. Move your playhead to the beginning. Click the Record button and hit play one more time.
Now drag the ball around the screen. Stop your playback. So it's a subtle difference, but it has recorded just a few less keyframes. Now double click your Recording options again. Check Peaks Only. Click OK, and reset your Position Parameter. Rewind you playhead back to the beginning, click the Record button, click Play, and drag the ball up and down, up and down, in very sharp movements.
Stop your playhead, stop Record, and while there are less keyframes, it still looks like its recording stuff in between the peaks. Well, if you hit Cmd+8, you will notice it also recorded Z position data. If we turn that off and reset that parameter, since we haven't actually being moving the ball in Z space at all, now you will notice it only recorded the keyframes during the peaks. So those are the Recording options that hopefully will make your life a little bit easier the next time you use the Record button.
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