From the course: Final Cut Pro X Weekly
5 things you should know about Motion 5 - Final Cut Pro Tutorial
From the course: Final Cut Pro X Weekly
5 things you should know about Motion 5
- [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.
Contents
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Why the Range tool should be your favorite and why to use it more5m 26s
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It’s all about the color board9m 53s
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5 things you should know about Motion 510m 34s
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The ultimate short guide to mastering speed effects6m 52s
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3 things you should use Compressor for right now6m 38s
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5 keyboard shortcuts you should know in FCPX7m 9s
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Uploading videos to the web4m 27s
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Setting up workspaces5m 8s
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AE workflows10m
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Cool things about the Info panel5m 36s
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5 tricks for dealing with the inventible stills montage8m 35s
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Animation in a hurry: Have no fear, custom text is here7m 9s
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The least you need to know about After Effects10m 21s
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Video roles in FCP X7m 44s
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Three Timeline tricks7m 31s
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Split edits to elevate your storytelling5m 53s
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Color Finale for traditional color correction10m 37s
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Tricks for managing titles12m 21s
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Perfect slow-mo with HFR11m 35s
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The power of generators10m 49s
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Portable proxies12m 30s
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LUTs and you12m 47s
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Free Apple sound libraries6m 40s
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Getting more from the Ken Burns moves7m 46s
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Storyboards5m 18s
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Three things about 3D text9m 8s
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Playhead and skimmer management6m 22s
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360VR in Final Cut Pro, part 15m 46s
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360VR in Final Cut Pro, part 29m 23s
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Keyframing best secret: Solo animation4m 50s
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3D text in Motion7m 45s
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Smart collections8m 51s
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Transitions6m
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Frame.io9m 55s
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RED workflow10m 2s
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Timelapses, part 17m 32s
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Timelapses, part 27m 23s
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Setting up a stronger Color Workspace7m 34s
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Shortcuts for faster color correction in FCPX 10.47m 12s
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The Power of Overshoot6m 53s
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Better LUT Workflows3m 32s
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Eyedroppers in Curves4m 57s
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Clip Filtering in the Browser3m 2s
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Animation Headache Avoided2m 40s
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SpeedScriber7m 6s
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A Solution for Charts4m 48s
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Speeding Up Basic Transforms4m 33s
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Common Transform Libraries3m 58s
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Viewing Smarter in the Browser3m 46s
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TImeline Display Options2m 16s
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10 keys we wished more FCP X editors used: Part 16m 22s
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10 keys we wished more FCP X editors used: Part 27m
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3 things to know for working with 360 in FCP X6m 46s
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360° Patch6m 20s
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Finishing the job: Archiving best practices4m 11s
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Using auditions with color correction2m 36s
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Using a color chart4m 29s
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Using Motion color looks in FCP X6m 26s
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Using the Finder for easy organization6m 33s
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Flow transition: Hiding jump cuts3m 53s
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Using Palette Gear with FCP X7m 51s
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The ultimate reframe: 360 in everyday projects5m 44s
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Snapshots: Better than duplicates4m 43s
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Closed captions7m
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Which ProRes is right for you?10m 24s
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FCP X in the real world: A sit-down with Kelsey Wilson from the Toronto Star14m 50s
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Dual displays: Maximize your layouts6m 19s
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Creating custom clip names in FCP X5m 21s
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Creating a channel blur in Motion for FCP X8m 7s
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Tweaking flesh tones9m 32s
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Text design tips for video editors12m 57s
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Saving useful effect presets in FCP X8m 28s
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Audio compression9m 27s
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Creating great lens flares with mFlare 211m 48s
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Voice EQ: Making everyone sound better10m 40s
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Smarter effects workflows7m 57s
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The edits not taken5m 38s
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MacBook Pro: 2014 vs. 20187m 11s
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Using cameras and formats6m 48s
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OS X Finder search secret5m 41s
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USB-C, T3, and you3m 51s
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Nodes 2: Incredible motion graphics right inside of FCPX8m 57s
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Three things to know about taking the dive into FCPX8m 6s
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CommandPost6m 37s
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Three great OS X utilities4m 56s
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Build a custom Final Cut Pro custom template in five steps14m 58s
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Three hidden compressor tweaks8m 5s
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Make safe OS X media copies6m 38s
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Don't hit the panic button: Troubleshooting Final Cut Pro X problems, part 14m
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Working with 4K in HD production7m 37s
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Workflow extensions with Shutterstock4m 45s
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Don't detach the audio2m 24s
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Four tips for keying the green out of your screen8m 44s
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Upgrading safer4m 43s
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Understanding disk speed10m 33s
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Beyond Ken Burns: Working with photo cutouts in Apple Motion, part 111m 3s
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Automatic color4m 48s
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Color matching8m 9s
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External GPUs14m 58s
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Beyond Ken Burns: Working with photo cutouts in Apple Motion, part 210m 32s
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Pair kerning: The secret to professional-looking titles3m 19s
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Pro Res raw8m 40s
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Incompatible media for future OS updates5m 38s
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The future isn't just horizontal8m 29s
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Audio limiter5m 12s
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Easing animations8m 12s
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Three free effects9m 49s
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Making keyword collections work for you6m 57s
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Square video8m 52s
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Video noise reduction11m 39s
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Hard limiter2m 44s
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Exploring 3D type options and reflections9m 16s
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Preparing titles for vertical and square formats8m 11s
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Odd-sized assets and Spatial Conform3m 29s
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Stencil and Silhouette5m 5s
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Working with 180-degree video in Final Cut Pro X8m 48s
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Two workflow tips for 5.7K footage7m 6s
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Faking room tone6m 2s
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Free still and video content sites8m 28s
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FCPX system performance12m 37s
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Proxy files for collaborative workflows6m 33s
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EditReady4m 35s
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