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Tip #860: Transform vs. Transform 3D

Larry Jordan – LarryJordan.com

This menu option is faster than selecting a layer, selecting the tool, then modifying the image.

Control-click any image in Motion’s Viewer to display this menu.

Topic $TipTopic

Control-click an image displayed in Motion’s Viewer and an interesting menu presents itself. The top two choices are: Transform and Transform 3D. What do they do?

Select Transform and position dots appear around the edges of the image. As well, the Arrow (Select) tool is activated.

This option means you can position, scale and rotate an image… in 2D.

Select Transform 3D and not only do the position dots appear, but the 3D controls are displayed in the center of the image, and the 3D Transform tool is selected.

This option means you can position, scale and rotate an image in 3D.

This menu option is faster than selecting a layer, then selecting the tool, then modifying the image.


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Tip #840: Simple – But Eye-catching – Text

Larry Jordan – LarryJordan.com

The Stencil Alpha blend mode fills text with whatever is below it in the same group.

A text clip filled with an animated line from the Motion library.

Topic $TipTopic

I was playing in Motion the other day and discovered a fast way to add an eye-catching effect to text – in just a few steps.

In the screen shot, I placed an animated line (Library > Content > Lines > Bar 27) below some text in the same group.

NOTE: The text in this screen shot uses the Giza font.

To get the lines inside the text, select the text in the Layers panel. Then, apply Inspector > Properties > Blend mode > Stencil Alpha.

The Stencil Alpha blend mode fills text, or any object with an alpha channel, with whatever is below it in the same group.

Because many of the lines in Motion’s library are animated, this effect can create a variety of ways to fill text with animated lines and colors. Each more interesting than the next.

Simple to create, but eye-catching in the result.

EXTRA CREDIT

One you have the text filled, you can animate it further using text behaviors.


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Tip #841: A Faster Way to Preview Effects

Larry Jordan – LarryJordan.com

Grid icon duplicates the Motion Viewer to simultaneously display multiple views of your project.

A split screen with 3D text on the top, with the Top view of a camera on the bottom.

Topic $TipTopic

In the top right corner of the Motion Viewer is a small “grid” icon. Ever wonder what it does? It’s pretty helpful…!

This button divides the screen into sections so that you can preview the same project from multiple views.

A common way to use this is as a split the screen (I generally use side-by-side images because I have a large monitor) so that I can see the finished version of my project on one side, with a top view of cameras and lights on the other.

NOTE: I used a top/bottom split for this screen shot because it fits better in this webpage.

While you can easily toggle between views in Motion, seeing both at the same time makes it easier to create an effect; especially involving multiple cameras.


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Tip #842: How to Improve Apparent Focus

Larry Jordan – LarryJordan.com

The Unsharp mask is applied (left) with a Radius of 2.2. The right side is the original image.

Topic $TipTopic

Given the state of today’s technology you can’t refocus an image after it’s been shot. (Well, not in any tool that I have access to…)

However, you can create the illusion of focus, which may bail you out when an image is “just a bit soft.” Here’s how.

Select the layer containing the soft image, then apply Filters > Sharpen > Unsharp mask.

NOTE: Don’t use Sharpen, Unsharp mask does a better job.

What sharpening does is emphasize the edges between objects by boosting the contrast at the edge itself. Taken to extremes this will put a harsh border around every edge. Don’t do that.

Instead, change the default Radius settings for Unsharp Mask so they are between 1.0 and 2.2. As you can see in the screen shot, the left side of her hair has sharpening and has a more apparent focus than the right side. The difference is a Radius of 2.2.

The effect is most noticeable in her hair, as the screen shot illustrates.

With this filter, less is definitely more because the default settings are excessively out of whack.

EXTRA CREDIT

Remember, this filter only affects edges. So, it won’t modify skin or other areas which have no significant texture.


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Tip #819: Use Motion’s Motion Tracker

Larry Jordan – LarryJordan.com

Motion track is a great way to move text or pointing arrows in sync with something else in the frame.

(Footage courtesy of Jim Walker and Lobsters Gone Wild Productions.)
The key to tracking success is finding a clearly defined and not obscured tracking point.

Topic $TipTopic

Motion has an OK motion tracker built into it. It’s much better than Final Cut, which has none, but not as good as Mocha Pro. Here’s how to use it.

  • Import a video clip containing the movement you want to track; the shark in the screen shot.
  • Create a new layer with the object you want to move in sync with the first object; the text “Shark” in my example.
  • Select the text track and apply Behaviors > Motion Track > Match Move.
  • In Inspector > Behaviors, make sure the background clip (Shark) appears in the top image box. If not, drag it in.
  • Position the playhead where you want the track to start.
  • Drag the yellow dot from the center of the text clip and drag it onto a clearly identifiable point in the background clip.

NOTE: This is the critically important step. The tracking point on the “shark” video needs to be visible for the entire track, sharply defined and different from elements in the image behind it. Motion’s motion tracker gets easily confused. If you don’t get a good track, try a different position for the tracking point.

  • Then, in Inspector > Behaviors click Analyze.

The motion tracker will track the moving object – the dorsal fin point in my example – moving the text in sync with the shark.

EXTRA CREDIT

There are many configuration options with this behavior. Read the help files to learn more.


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Tip #820: Weird Fun with Bulges

Larry Jordan – LarryJordan.com

Animated text as something moves behind it creates a funny and unusual look.

(Footage courtesy of Jim Walker and Lobsters Gone Wild Productions.)
The Bulge behavior animates as the shark’s fin swims behind it.

Topic $TipTopic

OK. This has no social redeeming quality whatsoever, but it made me laugh. Here’s a cool trick using the Bulge filter.

  • Place some text, in my example I used the word “Shark,” on top of a clip that has things moving through it; a shark’s fin in my example.
  • Apply Filters > Distort > Bulge.
  • Drag the circle that surrounds Bulge in the Viewer to get the shape and position you want.
  • Go to Inspector > Filters > Bulge and adjust settings as you see fit.
  • Then, keyframe the Center parameter so that the Bulge moves as something moves behind it; the shark’s fin in my example.

NOTE: Be sure to start and end with no bulge for best results. You do this by dragging the Bulge Center off to one side or the other.

EXTRA CREDIT

Experiment with different blend modes for the text to see if it improves the look for the clips you are using.


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Tip #822: Photoshop-like Image Control – in Motion

Larry Jordan – LarryJordan.com

The Levels filter performs the same function as in Photoshop – but the pixel display is not as good.

The Levels filter, with settings applied to a clip.

Topic $TipTopic

Hidden deep within Motion is an image tool that would feel comfortable to most Photoshop users: Levels. Here’s where to find it.

The Levels filter provides separate control over grayscale shadows, midtones, and highlights in an image.

To apply it:

  • Select the layer with the clip you want to adjust.
  • Choose Filters > Color > Levels to apply it to the selected clip.
  • Go to Inspector > Filters. Adjust the left (black) pointer just below the gray box to adjust shadow levels. Move the middle (gray) pointer to adjust midtones. Then slide the right pointer to adjust highlights.

Unlike Photoshop, the range of pixels is not well-displayed, so this will be less accurate than adjusting the same filter in Photoshop. Still, the operation is the same.

EXTRA CREDIT

While the middle sliders expand shadow and highlights, while adjusting midtones, the two sliders at the bottom contract grayscale values. While useful, you’ll find yourself moving the three in the middle more.


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Tip #804: The Secret Identity of a Drop Zone

Larry Jordan – LarryJordan.com

Drop zones are used for both image manipulation and transitions.

The Drop Zone Type menu in Motion 5.

Topic $TipTopic

Drop zones are objects created in Motion that allow us to include video when using a Motion template in Final Cut. However, there’s more to drop zones than first meets the eye.

To add a drop zone to a Motion project, choose Object > New Drop Zone (Shortcut: Shift + Cmd + D).

Next, select the drop zone in the Layers pane and go to Inspector > Image.

Notice, as you can see in the screen shot, that a drop zone is considered an Image. What you may not know, however, is that you can select between three different states for a drop zone:

  • Drop zone. Displays video added to the template from Final Cut.
  • Transition A. Displays the end of the out-going clip when added as a transition in Final Cut.
  • Transition B. Displays the start of the in-coming clip when added as a transition in Final Cut.

Converting a drop zone to a transition image gives you more flexility in designing templates and transitions. However, you can only have one Transition A and one Transition B drop zone per project. (Sigh… it would be cool if we could clone them.)


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Tip #805: Control the Shape of Path Curves

Larry Jordan – LarryJordan.com

Curves are shaped by the white Bezier control handles revealed by the Edit Points tool.

Unlinked Bezier control handles changing the shape and smoothness of a curve.

Topic $TipTopic

Using either the Pen or Paint Brush tools, we can create paths in Motion. The Pen tool creates a path, while the Paint Brush tool creates a path then decorates it with a shape style.

The trick, as with all path tools, is in how you create corners. When using the Pen tool to create a path, click to create a corner, or click and drag to create a curve. However, what happens if you don’t like the shape of the curve? Change to the Edit Points tool, then Control-click on a corner dot in the path.

This displays a menu allowing you to convert a corner to a smooth curve, or a smooth curve back to a corner.

When a corner is converted to a smooth curve, two white lines appear with a dot at each end. These are called “Bezier control handles.”

Drag the dots closer together to change the smoothness of the curve. Change the angle to change the shape of the curve.

EXTRA CREDIT

  • Press Option and drag to just change one dot. This also disconnects (“Breaks”) the two dots even when you no longer press the Option key.
  • Press Shift to constrain the movement of a dot.
  • Control-click a white dot to Link or break a dot, as well as align the two dots back into a straight line.

Watch how the curve changes as you adjust each dot by itself.


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Tip #806: Adjust Projects with Project Properties

Larry Jordan – LarryJordan.com

Every project setting can be adjusted after you start, except for frame rate.

The Project Properties pane in Apple Motion. Frame rate can only be adjusted for empty projects.

Topic $TipTopic

Once you’ve created a Motion project, you can always go back and adjust its basic settings. Except… Well, let me illustrate.

Select the Project in the Layers panel.

Then, go to Inspector > Properties.

This is where you can change frame size, duration, and other settings.

NOTE: Keep in mind that you can only change frame rate in an empty project. Once even one element is added, frame rate is locked.

EXTRA CREDIT

Changing the duration does not extend or contract the timing of any elements. This is a good reason to set the duration before you start creating a project.

Also, when you change the duration, Motion sets an In and Out to match the duration of the original project. This means that you will need to remove these marks, as well as manually adjust the timing of any clips that need to extend beyond the original duration.


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