APPLE MOTION 5 MANUAL PDF
The Motion 5 User Manual (this document) contains detailed information about the PDF files with transparent backgrounds do not have the Alpha Type or. Creating Templates for Final Cut Pro X. Motion is a behavior-driven motion graphics application that allows you to create stunning imaging effects for a wide variety of broadcast, video, and film projects. About the Motion Documentation. To find the user guide in the Help menu, click the Help menu in the app and choose Final Cut Pro X, Motion 5, or Compressor 4 Help.
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Motion 5 User Manual (en).pdf - Ebook download as PDF File .pdf), Text File .txt ) or read book The Apple logo is a trademark of Apple Inc., registered in. Welcome to the official Apple Pro Training course for Motion 5, a .. gestures, see Appendix D in the Motion 5 User Manual, which you can open by choosing. Motion 5. Overview. 4. Replacing Drop Zones and Texts. 5. Sharing. 6. FCPX Now you can download, install, repair and also convert Apple Motion projects'.
Volumetric lighting is essentially light rays that can be seen in 3D space. Using Motion you can create volumetric lighting with native effects. This tutorial by Final Cut King is exactly that. Using a series of color keys, you can easily composite your own sky backgrounds into your video.
Sometimes the best way to give your motion graphics a custom look is to simply add more layers. The following video tutorial shows us how to create a spinning Sci-Fi powerball with an electric center.
One of the newest features to be integreated into Motion is the ability to create 3D text. Unlike After Effects, users of Motion have the option to create 3D text without any 3rd party plugins or hacks. Want to learn more about Apple Motion?
Check out a few of these tutorials here on the PremiumBeat blog: Have any other inspiring Apple Motion tutorials you would like to share? Let us hear about them in the comments below! By Caleb Ward. Take your motion graphic skills to the next level with these 10 amazing Apple Motion tutorials.
Particle Collision Tutorial Created By: Simon Ubsdell In this tutorial, Simon Ubsdell shows us how to create an intersecting particle collision effect in Apple Motion.
After Effects calculates scale by comparing the distance between attach points on each frame with the distance between the attach points on the start frame. When you apply the tracking data to the target, After Effects creates keyframes for the Scale property. When you track motion using either parallel or perspective corner-pinning, After Effects applies keyframes for the Corner Pin effect to the layer to scale and skew the target layer as necessary to fit the four-sided area defined by the feature regions.
The feature regions should lie in a single plane in the real world—for example, on the side of a bus, on the same wall, or on the floor. The attach points should also all lie in a single plane, but not necessarily the same plane as the feature regions. Note: For parallel corner-pinning only: To change which point is inactive, Alt-click Windows or Option-click Mac OS the feature region of the point to make inactive.
One point must remain inactive to keep the lines parallel. Select the layer to track in the Timeline panel. The target layer is the tracked source layer. Move the current-time indicator to the frame from which to begin tracking. Using the Selection tool, adjust the feature region, search region, and attach point for each track point.
If the tracking ceases to be accurate, click the Stop button , correct the problem as described in Correct a motion track , and resume analysis. When you are satisfied with the position of the feature region and attach point throughout the track, click the Apply button to apply the motion to the specified target.
After Effects creates keyframes for the target layer. When tracking position and applying this position data to a target, you can choose to apply only the x horizontal or y vertical component of motion. For example, you can apply the tracking data to the x axis to make a speech bubble the motion target remain at the top of the frame even when the actor the motion source moves downward.
X And Y default allows motion along both axes. X Only restricts the motion target to horizontal movement. Y Only restricts the motion target to vertical movement.
After Effects prompts you to choose the layer to use as a motion source. When you stabilize a layer, the compensating motion may itself cause the layer to move too far in one direction, exposing the background in the composition or moving action out of the action-safe zone.
You can correct this with a small change in scale for the layer. Find the frame where the problem is most severe, and then increase or decrease the scale of the layer until the problem is resolved.
This technique adjusts the scale for the duration of the layer; you can also animate scale to correct this problem by zooming in and out at different times. Motion tracking controls You set up, initiate, and apply motion tracking with the Tracker panel. Motion Source The layer that contains the motion to track. Note: Layers are available in the Motion Source menu if they have source footage items that can contain motion or if they are composition layers.
50 After Effects tutorials to sharpen your motion skills
You can precompose a layer to make it available in the Motion Source menu. Current Track The active tracker. You can modify settings for a tracker at any time by selecting the tracker from this menu. Track Type The tracking mode to use. When tracking position, this mode creates one track point and generates Anchor Point keyframes for the source layer.
When tracking rotation, this mode creates two track points and produces Rotation keyframes for the source layer. When tracking scale, this mode creates two track points and produces Scale keyframes for the source layer.
Get user guides for Final Cut Pro X, Motion 5, and Compressor 4
When tracking position, this mode creates one track point on the tracked layer and sets Position keyframes for the target. When tracking rotation, this mode creates two track points on the tracked layer and sets Rotation keyframes for the target. When tracking scale, this mode creates two track points and produces Scale keyframes for the target.
Parallel Corner Pin tracks skew and rotation, but not perspective; parallel lines remain parallel, and relative distances are preserved. This mode uses three track points in the Layer panel—and calculates the position of the fourth—and sets keyframes for four corner points in a Corner Pin effect property group, which is added to the target.
The four attach points mark the placement of the four corner points. Perspective Corner Pin tracks skew, rotation, and perspective changes in the tracked layer.
This mode uses four track points in the Layer panel and sets keyframes for four corner points in a Corner Pin effect property group, which is added to the target.
Raw tracks position only. For example, you can copy and paste the keyframes for the Attach Point property to the Position property for a paint stroke; or, you can link effect properties for the Stereo Mixer effect to the x coordinate of the Attach Point property using expressions. Tracking data is stored on the tracked layer. The Edit Target button and the Apply button are not available with this tracking option.
You can add track points to a tracker by choosing New Track Point from the Tracker panel menu. Motion Target The layer or effect control point that the tracking data is applied to. After Effects adds properties and keyframes to the target to move or stabilize it. Change the target by clicking Edit Target. No target is associated with a tracker if Raw is selected for Track Type.
Analyze buttons Begins the frame-to-frame analysis of the track point in the source footage: Analyze 1 Frame Backward : Analyze the current frame by moving back to the previous frame. Analyze Backward : Analyze from the current-time indicator backward to the beginning of the trimmed layer duration. Analyze Forward : Analyze from the current-time indicator to the end of the trimmed layer duration.
Analyze 1 Frame Forward : Analyze the current frame by advancing to the next frame. Note: While analysis is in progress, the Analyze Backward and Analyze Forward buttons change to a Stop button, with which you can stop analysis when the track drifts or otherwise fails.
Reset Restores the feature region, search region, and attach point to their default positions and deletes the tracking data from the currently selected track. Tracker control settings and keyframes already applied to the target layer remain unchanged. Apply Sends the tracking data in the form of keyframes to the target layer or effect control point.
Motion tracking options These settings apply to a tracker, a group of track points that is generated in one tracking session. You can modify these settings by clicking Options in the Tracker panel. Track Name The name for a tracker. Tracker Plug-in The plug-in used to perform motion tracking for this tracker.
By default, this option displays Built-in, the only tracking plug-in included with After Effects. Channel The components of the image data to use for comparison when searching for a match for the feature region.
Select RGB if the tracked feature is a distinct color. Select Luminance if the tracked feature has a different brightness than the surrounding image such as a burning candle carried through a room.
A New Type of Manual - the Visual Approach
Select Saturation if the tracked feature has a high concentration of color, surrounded by variations of the same color such as a bright red scarf against a brick wall. Process Before Match Temporarily blurs or sharpens an image to improve tracking. Blur reduces noise in the footage. Usually a value of 2 to 3 pixels is enough to produce better tracks in grainy or noisy footage.
Enhance exaggerates or refines the edges of an image and makes them easier to track. Note: After Effects blurs or enhances the layer only for tracking. This blurring does not affect the motion source layer. Track Fields Temporarily doubles the frame rate of the composition and interpolates each field to a full frame to track motion in both fields of interlaced video.
Subpixel Positioning When selected, keyframes are generated to a precision of a fraction of a pixel. When deselected, the tracker rounds off values to the nearest pixel for generated keyframes.
The image data that is searched for within the search region is the image data that was within the feature region in the previous frame, rather than the image data that was in the feature region at the beginning of analysis. If Confidence Is Below Specifies the action to perform when the Confidence property value is below the percentage value that you specify.
Note: To determine an acceptable confidence threshold, track the motion and then examine the Confidence values for the track point in the Timeline panel for problematic frames. Specify a confidence value that is slightly larger than the largest confidence value for the problematic frames.
Select Continue Tracking to ignore the Confidence value. This behavior is the default behavior. Select Stop Tracking to stop the motion tracking. Select Extrapolate Motion to estimate the position of the feature region. Select Adapt Feature to use the original tracked feature until the confidence level falls below the specified threshold.
At that point, After Effects adapts the tracked feature to be the contents of the feature region in the frame preceding the one that has low confidence and continues tracking. This command is available only if you choose to use the older After Effects tracker plug-in. Note: To show or hide motion paths in the Layer panel, select or deselect the Display Motion Paths option in the panel menu of the Tracker panel. The panel menu is the menu that you access by clicking the icon in the upper-right corner of a panel.
Cameras and lights can be added to projects. When you add a camera to a project, you can switch the project to 3D mode or to remain in 2D mode unless the project is empty or completely 2D, in which case it is switched to 3D mode. A 2D group can be nested in a 3D group. A 3D group can be nested in a 2D group.
When a 3D group is nested in a 2D group, the group is flattened. This means that the nested 3D group acts like a flat card and ignores the camera. In addition, the flattened group does not intersect with layers of the 2D group or other groups in the project. For more information on working in 3D, see 3D Compositing.
Any transforms, filters, or behaviors applied to a group are applied to all layers in the group. If you move or apply a filter or behavior to a group, all layers in that group are affected.
You can also apply filters and behaviors to individual layers in a group. A filter is a process that changes the appearance of an image. For example, a blur filter takes an input image and outputs a blurred version of that image. For more information on using filters, see Using Filters.
A behavior is a process that applies a value range to an objects parameters, creating an animation based on the affected parameters. For example, the Spin behavior rotates an object over time at a rate that you specify. For more information on using behaviors, see Using Behaviors.
Groups and layers can be moved and animated by using behaviors or by setting keyframes. For information about keyframing, see Keyframes and Curves.One point must remain inactive to keep the lines parallel. Feature Size Width and height of the feature region. More articles from this Author. Note: To restrict the movement of the track point to the x horizontal or y vertical axis during tracking, resize the height or width of the search region to match the height or width of the feature region.
Note: You can apply the tracking data to a null object layer and parent the layer that you want to animate to the null object layer. The four attach points mark the placement of the four corner points. Hold Shift while pressing an arrow key to move by an increment 10 times as large.
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