5 things you should know about Motion 5 - Final Cut Pro Tutorial

- [Nick] Hi welcome to Final Cut Pro X Weekly. - [Jeff] He's Nick. - [Nick] And I'm Jeff, yeah. - [Jeff] These are five things you want to know about Motion, and this was the critical part when we approached this. We wanted to give you five things you could use Motion for without having to actually learn Motion, although there is some good Motion work here in the library itself. - [Nick] Yes there is, there's some great courses in essential training series that you can check out. - [Jeff] Meanwhile, here are the key concepts we're going to go, and this is the first real thing about Motion, it's $50. It is the heart and engine of Final Cut's effects. There is no reason why you shouldn't buy this tool. - [Nick] For those of you who are out here in Canada with me, that's $69.99, but still, an amazing price for a piece of software, and I believe, Jeff, they haven't actually made you pay for the upgrade. - [Jeff] Actually since the release of any of the tools under OS 10 since the app store, since came out with Final Cut X, there have been no costs. It's the same $300, the same $50 from the beginning. - [Nick] This next one actually, to how to build an adjustment layer is something I didn't know, and Jeff is about to teach me something out of Motion. This is a fantastic tool. - [Jeff] I didn't know you didn't know this. See yeah, it's one of the things that's missing in Motion, missing in Final Cut X is there's no way to apply an effect above an area of your timeline. And in fact, there are some effects that exist in Motion that don't exist in Final Cut Pro X, and we're going to use Strobe to actually make Strobe visible and usable for us inside of Final Cut X. - [Nick] Finally we're going to take a look at adding a unique motion generator. So, I just wanted to let you know that from Motion there's a bunch of generators or motion graphic templates, and you can save them as a generator, and publish it to your Final Cut Pro X library, and then be able to use it there with a couple tricks that I want to show you. - [Jeff] Fantastic, so we know that it's $50. Let's go ahead and let's build an adjustment layer. I'm here inside of Final Cut Pro X. I'm just going to close my inspector 'cause I don't need it right now, and what I'm going to do is I'm going to trick Motion into building for us a preset, a title that has nothing on it. So I've already launched Motion. I'm going to just switch over to it right now. There's Motion, and this is probably the easiest thing you're ever going to deal with. I'm going to build a Final Cut Pro title. I'm going to hit open. I don't need to change anything. All the default settings, there's some text here. You see it says type text here. I'm going to go to that type text here section. I'm going to hit delete. I'm done. That's all I had to do to make an adjustment layer, except for the last piece where I go up to the file menu, and I choose save. Now, when you choose that preset that new Final Cut title, it's going to save this inside of Final Cut for you automatically as a title for you to work with in the future, and when I go here and I say save, I can pick the name of my template, which I'm going to call it adjustment layer. - [Nick] And if this is the first time that you're in Motion just keep in mind you're going to have to choose a new category and a new theme and make that's going to be part of the Final Cut Pro text section, or your text library. - [Jeff] I could choose custom. I'm going to actually build a category here called FCPX Weekly, and say create. I don't want any theme whatsoever, but themes are essentially groups inside of the category. I'm just going to choose publish. I'm going to go back to Final Cut X. I'm then in the top left going to choose the titles. Under the titles you're going to see now Final Cut Pro X Weekly, and there's my adjustment layer, and I'm going to take my adjustment layer. I'm going to drag it to my timeline, and what I'd like to do is I'd like to put a treatment on these two or three clips. I'm going to go ahead here and grab my effects. I'm going to say let's go up here to all the effects. Let's just search for a sepia, down here click. Oh, I think they call it tint. And I'm just going to grab the tint. Instead of grabbing it and putting it on a clip, I'm going to put it up here on the adjustment layer. - [Nick] No way. - [Jeff] And now I've got everything adjusted there. I can also, you can do this as a right click the word view. Well, I just like to think of it as disable is the letter V. You can see it with and without that adjustment layer, and you can just see the permutations of adjustment layers. This is something that's in Photoshop, it's in other tools. Now it's here for you inside of Final Cut X. - [Nick] Yup, and you can trim it, you can move it, you can make that adjustment layer any size that you like. - [Jeff] One last thing about all these titles. Any single one of these you want to do, you can just go ahead, click on it, and you can right click, and you can go ahead and open a copy in Motion. Allows you to adjust any of these. - [Nick] Not only titles, but keep in mind your transitions, your Final Cut effects, all come from Motion. - [Jeff] In other words, Motion is the effect generator for Final Cut X. - [Nick] I think, I like to think about it as the gateway to Final Cut Pro X in terms of effects, transitions and titles. - [Jeff] Absolutely, I want to add an effect that doesn't exist in Final Cut X as it's set. It's a Strobe effect. It's one of my favorites, just to give that sort of choppy motion, and I'm going to go back over to Motion for this, and I'm going to say file, new, and I'm going to choose a Final Cut effect here. And again, I don't care about anything else here. I'm going to say open. I'm going to go over to the filters, and I'm just going to search for the word Strobe. - [Nick] So, you're searching right now the effects inside of Motion. - [Jeff] And you may not have the same exact effects I have, 'cause I have a lot of third party effects on this system. I'm going to take the Strobe, and I'm just going to drag it right here to the group. - [Nick] Okay. - [Jeff] Now that it's on the group, I'm going to go up, and this is the hardest thing. It wasn't finding the Strobe. It was going to the inspector. The inspector here in Motion is on the left, rather than on the right. - [Nick] It's not on the right. So in Final Cut it's on the right. In Motion, it's the left. It's just trying to keep you guessing, but it's the exact same thing. - [Jeff] I think it's so it makes it harder for you to mix up which tool you're in. The one thing I want you to do is take the Strobe breakdown to a lower number. I would suggest a number like three or four. I want it to be as a default really strobe-y, and then what I'd like you to do is right click on the word Strobe Rate. We need to have these controls over in Final Cut X, and for that you say publish. I now can save this, file menu, save, and it's going to say where would you like this to have. Now remember, this isn't a title. This is an effect now, so I'm going to call this Strobe. I'm going to have to create my own category here. I'm going to create a category alled FCPX Weekly. Maybe I'll cheat and put an underscore so it goes to the top. I'm going to hit create. I'm going to hit publish. I'm going to switch back over here to Final Cut X. Now I'm going to need a clip that's got some good motion to it. There we go, this has got a nice, you can see that pan going on, that tilt going on. I'm going to click on the clip. I'm going to come over here. There's the FCP Weekly. I'm going to clear my prior search of the tint. Let's put my play head over here. I'm going to grab the Strobe, drag and drop the Strobe. Let's play this back so we can see what it looks like. Nice and strobe-y, and I'll go to my inspector, command four if you know that, and you can adjust the strobe rate here, 'cause I've published that one. - [Nick] 'Cause you published that one parameter from Motion. I remember you doing that in the inspector that's on the left. - [Jeff] Beautiful, now I know part of the library, you've got a bunch of titles on Motion. You're the one who taught me the following, that you can steal stuff from Motion, things that aren't in Final Cut X, as far as some of the generators, some of the pre built items. - [Nick] You can definitely steal some stuff from inside of Motion. So I'm going to actually just toggle back into Motion, and the first thing I want to do is go to file and new, and besides being able to create new types of projects, so anything with Final Cut being able to publish that to Final Cut, you've got this little side section right down here, and if we take a look there are certain built in motion graphic items, some of them that are already in Final Cut, and things that aren't inside of Final Cut, such as this snapping category. So, some of these, in fact if I hover over them, you can see a preview. Some of them are menus, and let me just actually go to another section here called pulse, and there's a pulse opening. - [Jeff] That's gorgeous. - [Nick] As you can see here it is 1080 and 2997, but what I'm going to do is I'm going to open a copy. This opens it in Motion, but I really don't have to stay in here too long. - [Jeff] In fact, we're trying to make sure we appeal to the fact that you don't want to learn Motion at this time. - [Nick] Exactly, so all I'm going to do is go to the file menu. We've been here a couple times before, and I am going to choose something different from the menu. It's just publish template. - [Jeff] Here you're actually taking something that's custom to Motion and you're publishing it to Final Cut X. - [Nick] Right, so, I'm just going to call this Pulse Open. That was the name of it, and I want to choose a category, and just sticking with what we've been doing so far, we've got the underscore FCPX Weekly, and I'll choose to create none and most importantly, this publish this Final Cut generator is my button to have this inside of Final Cut Pro. So I want to choose to publish this, and then after a few seconds that's now available in my Final Cut Pro X library. Every single time that we've published something so far, we haven't had to shut down Motion. We haven't had to shut down Final Cut. It's right there inside your library. I'm going to go here to my generator section, open that up. There is that new category that I saved, and inside that category is a Pulse Open motion graphic opener that I can switch and alter here in Final Cut. And I want to bring this in the timeline for a second. So I'm bringing that in as a pure drag and drop, and we can see here the motion graphic piece. Now sometimes what I like to do is separate this piece into a bunch of sections, and this is something that you should know about Final Cut generators in general. So it's a limitation if you bring something from Motion. Let's just say I go to a piece where these motion graphic elements switch over, as you can see, and I decide to take the blade tool with the B key and blade this out. What's going to happen is this is not going to be continuous anymore. It's just going to start-- - [Jeff] It restarts. - [Nick] From the beginning, right? So you can see there the restart from the beginning, which isn't necessarily what I want. - [Jeff] It would be kind of cool to have this open, and then the title come a little bit later, but the problem is, every time you blade it, it's resetting. So let's undo that and let's figure out a way around it. - [Nick] So I want a, just to get to back to my default selection tool, and I'm just going to press command Z to undo that, undo the blade. Let me select this clip, and I'm going to use something really handy here from the file menu. I'm going to go new, and choose to create a compound clip. All right, once I do, I can of course give this an appropriate name. So I'll do the Pulse Open. Okay, now it's contained in this compound clip. Okay, if I double click it I will see it inside that container. So what I'm going to do is now select that blade tool again. That was the B key, and I'm going to make an incision right here by my play head. I just want to show you that that does remain consistent. It doesn't start from the beginning of the generator. - [Jeff] And allows you to break it up. My name's Jeff. - [Nick] I'm Nick. - [Jeff] And thanks for watching Final Cut X Weekly.