Motion VFX mO2 : Stanislaw Luberda

mo to from motion VFX [Applause] so hi everyone um as you guys heard my name is Santa Sol libertà uh I want to give you guys just a little two seconds about me cuz I haven't met any of you people before some of you I've actually met online and I've met you for the first time today which has been really cool for me I'm a motion graphics artist and I'm a television producer based out of Milwaukee Wisconsin I actually work currently as of today at Wisconsin Public Television where I'm responsible for put together a bunch of different shows when used in public affairs for our documentaries so I have to eat the dog food that I usually talk about so it's not just me coming up here and being like hey here's this cool new thing this is stuff that I'm super excited about and that's why I'm here and what I'm here to talk to you guys about is about mo - so mo - well I'll just play the thing wait okay now from the beginning [Music] [Applause] [Music] now I would bring it down [Music] [Music] [Applause] [Music] Julie find a corner where the big boys play all right that's the sizzle we all know this is all and yeah it's all very pretty there's there's a lot of stuff going on here but there's there's a few things that I really want to point out from the very beginning is that yeah this is a prerendered thing that's going on here and a lot of these titles are really good-looking and are very common with 3d programs like cinema 4d or Houdini that require a significant amount of hardware that require a significant amount of skill set in addition to some of your already established skill set so as I mentioned before I'm a motion graphics artist I typically am working in After Effects I'm working in Apple motion sometimes I'm jumping into Houdini and when I really need like that 3d punch I just can't lean on that as easily because I'm already stretched pretty thin with my current job and so that's another skill set that I need to lean on or I need to hire out for the other thing is when I talk about hardware so typically in these kinds of setups you'll have massive racks with like series of 1080 cards or other Titans or whatever you have out there and what's really cool about this is this is my Final Cut Pro timeline this is one of the included templates and this is playing back in real time this isn't a pre-rendered thing and at anytime I can change any of these items so for example I'm just gonna get in here and we're just gonna change this up a little bit I've got a series of different modifiers here I'm just gonna move this just to kind of point this out and as I'm doing this everything is adjusting on the fly so getting something out of this and say cinema 4d I'm still gonna need octane I'm still gonna want redshift or I'm gonna hire out a 3d person to kind of work with this there's a couple benefits to using mo2 that I've already found and that's I can work with it directly in the timeline I don't have to go to another middleware app I don't have to go into a different panel to try and open it up kind of see what its gonna look like the bigger payout for me is this is this is rendered this is what it looks like when I hit go so I'm not waiting six or seven hours for a render I get my producer giving me a call and says hey Stan that those orange particles we can't do orange anymore orange is terrible nobody likes orange can we change that to maybe like a white or something and I'm like sure thing boss I can do that and I can instantly make that change or well let's say hey motion V effects that's that's a pretty cool logo is there any way we can just change that logo to the new mo2 logo and i say i mean i can do that but you know can I get some render time in there can I kind of swap that out and instead what I can do is I can just take my logo and there's our mo2 logo and I can extrude out our different paths and there it is right and so we'll just go ahead I'll play that back again and there's my changes instantly so one other thing I want to point out is when I was talking about hardware I'm running all of this on a MacBook Pro 2018 that has just you know a simple AMD card in there compared to these giant Quadro card rig setups that I see all the time and I'm not waiting for these renders so that's really exciting to me so now that I've kind of shown you some of that let's give you guys a couple examples of how this stuff kind of works as I mentioned before it's all done right in our scene setup here so I'm gonna just go ahead and jump into this title let's take a look at it it works just like any other title template that you would have in our published parameters if you're in Final Cut we have all our different scene structures so our setup right here is made up of a camera some hexagon particles our SVG which is replace this logo that was a plug that was that was set up beforehand and then this little place symbol which is really just text and then another cylinder that it sits on and everything can be changed right here everything can be built out right here and to me it's very exciting because I don't have to lean on that other person now can I still lean on another person maybe I don't want to develop my own 3d stuff maybe I have an agency I'm working with and they're like we want you to use this model well that's another great thing about this is I can bring in pretty much everything if I've got an FBX format that I want to bring in and then put directly into my scene I can do that another thing that's really exciting is all the built-in stuff that you get from the ground up so I'm gonna be taking a deeper look at this in a minute but I just want to open up our library and you'll notice that when it load it it loaded very quickly and it said something like 500 different objects and there's a ton of stuff that's included right off the bat see that that was another another joke there see thanks for playing along guys they could feel better so if you have your own 3d modeler that you want to work with say if you're working in maya or if you're working another 3d program you can still work with that and the beauty about this is you can stew your final comp in here and bring it all in you can bring in cinema 4d sequences and bring them all in here another really great powerful thing is this instance err so you guys probably saw these particles on here all these particles are just this one cylinder and this one cylinder just has a single material on it so I can go into my materials and just instantly change these out and create something completely different so that's really why I'm here and the second part of that is I want to show you how we can actually build some of these different things so I'm gonna go ahead and we're going to start from scratch do you guys have any questions so far we'll get to that we'll get to that you don't have to go into motion but I will be jumping into motion because there are some key differences as far as layout as far as the way things are kind of put together and the usability of it is the best way I would describe it so I'm gonna go ahead and we're gonna make something kind of new so I actually I put this together on the plane right here I'm not gonna build this but all this was animated space off of that same thing right I just kind of threw together some different stuff based off of that same title and that's pretty exciting I'm just gonna clear this scene so it's just gonna say hey you wanna clear that scene yeah I know what I'm doing alright so typically when you start up mo2 you're gonna be presented with a backdrop it's not gonna look exactly like this it'll look a little bit more blueish and generic but I want to start with that one backdrop that we had and right away we have two main things we've got our scene settings and are seeing content and our scene settings handle things like our environment and our backgrounds and our render settings the only thing I care about right now is this background and from here we can go ahead and change this image to our environment or we can change it to a drop zone or another image in our images one of the things that I'm always struggling with is when I'm creating my different comps is where am I going to kind of put this thing where am I gonna move it what's the background gonna look like and how do I make it look you know but somewhat decent and there's a ton of stuff that's already built in just to make those things happen right away in our environments we have full support for HDR eyes so if we wanted to have a specific scene like our different panoramas that would be reflected in our scene but again there's a whole bunch of other stuff already built in from the get-go so I'm gonna go ahead and I'm going to just change our background image I have a favorite marked in here I'm gonna change this to this city lights just just for right now and what I'm gonna do is I'm going to load it a new model so I'm gonna go to my library and as I mentioned there's several different models any of these models I can go ahead and mark as a favorite I'm gonna go ahead and choose my favorites because I already have one that's in here and so there's our model on our scene and I can see there it is it's wrinkled surface I'm just gonna change this material really quick and our materials in mo2 are based off of pRb are procedurally like physically based render material x' so i can get in here and i can really tweak with all the different settings of a physical kind of material whether that be a base color of the albedo a bump map a metalness or roughness or opacity etc so you can really go deep if you want to so for those professional artists that want all that control it's there but for those of you who may be new to 3d or just want to make something that looks really good and presentable we can just choose our materials and I'm gonna go down to my favorites and I've already made a material kind of based off of this and we're just gonna work with this a little bit more I'm just gonna change this rotation we're just gonna push this to the side here notice that I'm actually moving it in my scene with this 3d gizmo so I can actually move my rotation my scale or the position alright right there so I don't need to kind of dial in anything I absolutely can if I want to here now it's a little hard to see what's going on so it'd be great to have some sort of camera control and that's really what we have a pot on top here so with this button I've got a frame too and anything that's selected in my canvas is gonna be completely right there in the center of my scene and for our purposes right now this one's gonna be a little too small for me I could scale it up but to keep things interesting I'm just gonna duplicate it and I'm gonna move this guy over to the side and now that I have them there if I get in really close so if I go ahead and I Scroll in with my zoom wheel here and I move it over to the side I just wanted to have them pretty lined up and because they're not her frequently lined up I'm just gonna fake it a little bit and we're just gonna scale this to a negative one so it basically flips it as a mirror image so now that I've got that I want to work with this and I want to Center this with my camera so I'm just gonna zero out my camera really quick and if you have any questions you know feel free to shout out as I'm kind of working and I'll do my best to answer them so all right so now we've got our scene in here and that's looking okay I'm probably gonna tweak that background a little bit more it's a little too Bluegreen for me and that's that's alright but for right now I'm gonna go ahead and add in that logo that we had before so we have two things that we can add as far as 3d text and that's our text or SVG our SVG is going to be our vector images and really we use the SVG because it's really easy to work with so once I put it in there I can see the different paths and I can choose to say which one is gonna be at kind of our outline or our hole so to speak and then which is the solid so I'll go ahead and I'll load that in there and that's right in our scene so yeah that looks okay but if I was working and let's say element or anything else I'm gonna want to tweak that a lot more I'm gonna want to give it a different kind of shine I'm gonna want to apply a different kind of materials and now I'm already lost because I have so much more work to do just to make something look somewhat decent so we have our Styles and there's a ton of styles that already built into this as well and right away by clicking on any one of these it's going to apply that style with all its presets right on to it and so very quickly and easily I can just say hey how does this one look and the producer looks at me and says no and then I do that another 20 times and then I go back to the first one and they're like oh that's the one that one's perfect and I agree with them and I hit okay so right away I can extrude these things and make it really fun to work with so that's that's our Styles but we want to kind of make the scene a little bit more interesting so I'm gonna add a couple more things to this first thing I'm gonna add is a light and light is always really interesting when it comes into 3d because coming from After Effects when you put a light on something it's it's kind of like just like a beam and it's there and it doesn't really do a whole lot especially when you try working with 3d elements it doesn't go over the curves of things like our environment does so I'm gonna go into my light and I'm gonna add a sphere light and right away it's way too blown out and we're gonna talk about that in a second but for right now I'm just gonna move this light we're gonna move it over to the side and what I want to point out is what it's doing to the edge of that 3d model there how it's really nicely wrapping around and so I'm just gonna kind of give it a nice little highlight but I have that big old ball of light which is pretty annoying so what I'm gonna do is I'm going to go down to this render shape and just turn that off so what that'll do is it'll give off the light without physically kind of rendering that light there and so that's really exciting to me and from here I'm gonna work with this a little bit more make this one just a little bit more yellow I'm gonna bump up my intensity here let's see I have a specific number that I'm gonna work with and this light radius right so I'll boost that up and take down this intensity so we just get these nice little highlights you may notice that it's kind of giving this bloom effect and another really cool feature that I found in mo2 is the post-processing effects I'm gonna go a little bit deeper in this in a minute but what this will let you do is create a lot of different different looks right away so for example if I wanted to get a very narrow focus I can boost up that focus amount and then just click where I want to focus and it's gonna have that right then and there wherever I am or are motion blur so in those last particles that I had with all of them spinning around we can add or remove that motion blur there's times that I want that motion blur and there's times that I really don't want that motion blur especially if I'm gonna be comping it with something else as soon as I start trying to key something it's gonna be a mess so being able to turn that off is really nice as well it doesn't I haven't noticed I haven't noticed really any kind of extra hit as far as performance from it yeah so as soon as you add all of that in after-effects with the shutter speed and all those other items you get that kind of slowdown but this is really based on the same kind of technology as like game engines so it's very responsive and it's very fast so we can adjust our different bloom we have some distortion because some lenses will definitely have that distortion and it took me a long time to kind of realize that you know searching for that kind of perfection and that super clear image takes away from my motion graphics work because real life isn't very crisp and very clean is when you have that extra little bit of focus blur and you have a little bit of that dirt on that lens things start looking a little bit more like yeah I don't know why but that looks real and all that has been taken into account with this so I'm gonna turn that off for right now and we're just going to duplicate this light I'm gonna take this light and we're gonna move it all the way to this other side and I'm gonna make this just a little red and we're going to work with this intensity a little bit more turn that down a little bit and so that's all well and good so great I put together a summary decent comp I'm still gonna work with this background a little bit because it's a little too I guess like Joker purple green for me but what I want to focus on right now is actually animating like this is great and all but I work in motion graphics so what can I really do with that so let's talk about that every item that you have in mo2 has an ability to be animated either through object behaviors or traditional keyframes so if you're familiar with keyframes that just go from point A to go to point B we're done and one of the beautiful things about using Apple motion was the behavior function if I want to move something from here to there it just does it and it doesn't really clean and really easy so I'm gonna take my camera that I had right here and I'm gonna add a new object we're gonna add a null object what I'm gonna do is I'm going to parent this camera to this null right so I've clicked on this null and effectively as I'm moving this null it's actually moving the camera right so if you've ever used After Effects or pretty much any other program in the last 20 years that has nulls works the same exact way the reason why I'm doing that is because I want to stack these different kinds of behaviors so I'm gonna go to my null and I'm gonna open up my object behaviors and there's four hundred and ninety three of them that loaded right and this to me this was the seller for me this is the instances because if I was rendering something out in After Effects there'd be a job that I would have and be like hey Stan do you remember that one title you did six months ago and we want the words and we want the stuff to come in exactly like that I'm gonna freak out because I'm gonna have to unbury that project kind of decipher it figure out how I put that together and then apply it to something else instead what I'm gonna do is just take this and I'm gonna add a spin X behavior to it so we're gonna take that guy I'm gonna hit okay I'm gonna go down to about five seconds and have it end there so now as I play this back now that's animating right away okay that's looking pretty good but we want to make this just a little bit further right so I'm gonna take this default camera and we're gonna give this its own behavior so I'm going to add another behavior to it and again there's all these different ones in there there's an animation in if I open that up there's mixed position x position Y scale X scale Y all these things have been kind of thought of that for me as a motion graphics artist this was always the struggle it was always how can I just make it do this one thing and how can I make it do it really quickly and effectively from point A to point B so I'm gonna take that and we're gonna add let's see a move in and I'm gonna go to the end of my timeline here and I want it to end right here and right away that right there is a huge time-saver for me because before if I wanted to kind of figure out where I want to move my camera and how I want it to animate it and now I just have it animating through the whole piece now that's a little too far from me I can see the edge of that right so I'm gonna go back to let's say a right about here so and I'm gonna fine tune this underneath our position multiplier it's a little hard to see because it's a little cut off here and I'm going to take this position multiplier to point let's say 0.3 and now I've zoomed that in and I can just continually tweak this until it works the way I want it to if I want it to end here great now it's gonna end there so now that I've got that let's go ahead and animate this logo as well so because this logo is on a separate item I'm going to go ahead and add an object behavior to this as well and we're gonna go down again I've marked this as favorite because I didn't feel like digging through 500 of these and what I'm gonna add to this one is a pivot scale in and we're gonna have this one end maybe right about here we might have to tweet this a little bit so now we have that logo coming in and then the whole objects spinning to the side by the way the reason why it looks like it's one dimensional right here at the beginning is because the model is one dimensional it doesn't have two sides to it so that's a little all trick there that we put on you there so now let's work on this environment just a little bit more again I mentioned that it's a little too purpley green for me so what I'm gonna do is I'm just gonna go back to this and I'm gonna pick this environment and it's just a little roadway and we're gonna go into the color settings and I want this to be a little bit more high contrast so I'm gonna drop my gamma just a bit and reuse my brightness just a little bit and now it's a completely different look than I had just a couple minutes ago notice my background is still there too so maybe I don't want that kind of a background maybe I just want a gradient and we're just gonna make that really dark so being able to work this quickly and to make these changes this quickly without having to wait for renders without having to call up my 3d guy bring them into the office or my 3d girl and have them make those changes with me and be like okay when can I have this oh four hours two hours if I use like render rocket or something mmm great I'll see you in a couple hours and I can just work right in my timeline so does anyone have any questions so far on how this works no all right so then we're gonna move on to the next section here I've got another example that I want to put together for you here and the difference is going to be working in motion rather than Final Cut you and I got ahead of myself let me show you one other thing too it's all great that you know I'm building this stuff here in front of you and I've been working with this what about you guys like you guys just want to be able to work with this stuff as quickly as possible too so when you pick up mo - it comes with a ton of these different priests as already set up some of these have the drop zones that we all know and love from final cut in motion where I can drop in any photo or video and there it is so if I had something that I needed titles for or one of my favorite examples is down here right and I want you to just kind of play this guy out I can just get in there and change all that on-the-fly so there's stuff for title opens there's product stuff there's titles and you know there's so much content in here this is one of my other favorite examples too that you can really go nuts just kind of kit bashing I don't know if you guys are familiar with that term that's when you basically take a bunch of different pieces and kind of smoosh them all together think of it is there's a remix and that's the way that as a motion graphics artist I depend on every day because I want to be able to create something that's both compelling and exciting for my viewers without killing myself doing it alright so now that that's done let's go ahead and move into motion the main difference that you're gonna see between using Final Cut and motion is very specific and by very specific I mean this so I'm gonna take my generators I've just created a blank template if you guys haven't used motion before and I'm gonna go into my generators and put mo2 into my timeline once it's there it's going to load up in the default and this is what the default typically looks like it just gives you a canvas to kind of work on make sure it's working and you can see what's happening the main difference between using it in motion and Final Cut is being able to finesse our keyframes so in Final Cut you really only have the linear keyframes that you can work with and trying to work with more of those keyframes is a giant pain the panel is super duper tiny and you can't really do much with it where motion is really designed for those keyframes in mind so we're gonna use that for a little bit of this lesson so I'm gonna go ahead and we're gonna start this lesson from scratch and I'm just gonna move a few things around here because I don't need the project pain and I thought I'd make this as large as possible so we can all see it does that look okay for everyone all right I'm gonna go into my inspector and there's the same exact setup that I have before as far as control wise and the way that the panel is laid out it's identical there isn't any difference there so I don't want you to feel like it's it's better to use it in one or the other there's just a slight different control from the way that motion and final cut fundamentally work I'm gonna go into our scene setup and I'm gonna change our background so we have a gradient radial background very similar to what we had before and I'm gonna change this to a linear background and I'm just gonna move this all the way to the side here and for the purposes of the demo I've already set up some colors that I want to use and in here you can see a little bit more of that lens effects the post-processing effects on there you can see a little bit of this bokeh what you don't see right now though is Mike my HUD my my control panel my UI for that right so the way to activate that is we're going to go into our tools and adjust item and as soon as we hit adjust item there's everything we have so I can get into our post-processing effects and I can turn down that dirt amount right so we can also crank it up to if we want something you know if we were filming with with dad's old Cannon and it still has like 20 year old grime on the lens so there we go I'm gonna go ahead and I'm gonna add a primitive so we've talked about the model library before but what about just making something with like nothing just just primitive I'm gonna go into my primitives and you can see it's giving me a little drop-down and a little visual of what all these different items look like there's my cue and if you've ever worked it again in any 3d program in the last 20 years impressive cube and we're going to cau someone like that one hey I'm gonna ply up material to it and to apply our materials again I'm gonna go into my library and just like everything else included with mo - there's a ton of content just to get started so we have the templates we've got the 3d models we've got these whole materials that we can just pick different stuff with so again for my example I can just pick these different ones and it's instantaneous it takes just a second to load and then it's there I'm gonna go ahead and again I've picked something specific for this demo I'm gonna hit okay and this is a bit of a concrete and if you take a close look you can see it's kind of divided into four and that's that's not what we want we want to be able to stretch this over the whole thing and that would be a limitation to some 3d light 3d programs out there already is the UV mapping coordinates there's no good way to kind of change that but in here I can change that on the fly so we can go ahead and just re change how that UV is wrapped in fact we have different UV controls and by choosing some of these other ones I can even turn on a separate UV transformation so this is a 3d gizmo that we saw before but I can just move the material around to the cube knows that the cube isn't moving but I can wrap that around there so for me that's pretty huge I'm gonna change that back to UV for right now this is a whole new ballgame because this enables 3d and texture mapping and all the other processes that go along with it that really isn't available in Final Cut in motion I will say that there is the 3d text that is available in Final Cut with it we've all like used before played around with but it's been pretty limited in my in my opinion I can't change the environments outside of the three or four provided I can import my own 3d models so for me this is a lot faster and a lot easier to work with yeah I mean the team over at motion VFX have gone above and beyond for me I feel like this is the next evolution because I have not found anything that is as fast as light weight that I can really create this stuff on a plane on the way here well if you guys don't know I'm actually put together a series of different tutorials for mo2 through motion VFX one of them is done entirely in Final Cut and one of them is done entirely in motion specifically so people can see that difference and so that way when some people are just like I will never use motion I'm not going to use motion and that's fine a lot of times you don't have to but to have these tools available in the final cut is just for me so it's very exciting you absolutely can so that's a great question so I'm going to jump ahead really quick and just point out if I make a really complex scene right let's say I've got a bunch of different replicators out there I can save this scene and it'll save it basically as an mo - object like a whole thing that I can then take into Final Cut open it up and keep working with it so again all those different title templates that you saw if you're familiar with that kind of workflow working with motion and then publishing to Final Cut there's ways to pretty much do that by loading these things in so it's not so if you are working just in motion and you're working with an editor who's just in Final Cut you can easily just move from one right to the next so there's a couple specifics for that that's gonna go a little beyond here for today but I would love to take your questions after that because that goes down a little bit of a rabbit hole that I don't think I'm gonna have time for in everything else so I'm gonna go ahead and I've got this cube and it's doing all right he's good looking cube and I'm gonna duplicate him cuz I love him so much and I'm gonna I'm gonna attach them to that other cube so right now I have two identical cubes not very exciting so I'm gonna make this one a little bit different I'm just coming down to a scale and I make it at one point - and scale the why 2.8 so basically it looks like a cube around a cube and put it set it apart a little bit more we're gonna change that material and again there's all these different materials I don't know where that one I'm looking for is but I know it's gold so I'm gonna type in gold and be able to place that right on there so really interesting do you notice what happened on my screen here is there's there's something in that gold right so that's our environment map and for those of you who are new to kind of 3d everything that you put into a scene has to have some sort of environment for it to sit in and that environment is going to be reflected in these 3d scenes or in these 3d objects and when you have a surface that's very very smooth or very glossy that's what you're seeing that reflection so even if you've ever held up your iPhone that's been turned off like into a light and you're catching that light that's a very smooth surface what if we roughed up the surface a little bit and by roughing it up I want to create some bumps and nooks and crannies to kind of catch that light I'm gonna do that with my normal maps now notice that's loading another 2000 kind of items and this is our texture library our texture library has everything from albedo channels think of those is almost like a base coat or a color alpha cutouts cavities etc I'm gonna go ahead and I'm gonna pick this ten scratches and instantly that kind of changed the look and feel of this model I'm gonna do that a little bit further by changing the scene settings and going into that environment and this is that one we were just working with right you we were able to see part of this bridge so instead I'm gonna add this classic studio and now that's create a very dramatic kind of look and if I still put it into the light we're still catching that so it's all in how we're kind of presenting these objects all right so I've been spinning a cube for about ten minutes now not too exciting let's talk about instances I'm gonna take these two cubes and what I want to do is I kind of want to make a brick wall that has pieces coming out so I'm gonna go to my add object instances and grid and it didn't really do anything right well it's cuz I haven't put anything in that instance here so I'm gonna take these two cubes and drop it in there and instantly it's kind of blown up whoa I can't really see what's going on so I'm just gonna frame to it and now there's my cubes right so we're just gonna work with this a little bit more I'm gonna make sure I have my instance are selected so that's what I'm working with and I'm just going to make some adjustments here alright so I've got kind of like this brick wall kind of a look to it and it's a little tight in there right so we're just gonna spread it out a little bit and so all of this is just built off of that 1:1 cube that we duplicated and I can't really see anything because of all that gold that's being reflected so we're just gonna rotate all those items as well all right so that's what we're looking at now and now we've got this nice kind of brick wall they might be a little too tight I might have to work with that a little bit more and that's really interesting so great job Stan you made a brick wall well that's not too exciting but what is exciting is being able to modify these with the modifier built in with mo2 so I can come down to our modifier and we have a series of different ones the one I care about right now is random and so this is something really interesting just like we saw in that other title as I move it it's randomly changing some of those cubes and I don't want that that's not doing anything for me so we're gonna work with that a little bit more I'm gonna turn off the scale uniformity and we're just gonna move it just a little bit here so you can see everything that's within that circle is being modified randomly I don't want it to just be in that circle I want it across the whole thing so I'm going to change that to infinite so now everything's been changed and here I can see oh you know what my grids just a little too tight so I'm just gonna spread that out here something like that right and I talked about keyframing before so let's let's go ahead and keyframe this within the time that I still got here looks like I got just a few minutes and so I'm gonna go back to my modifier and I'm gonna go to where I change that position now we're just gonna start a keyframe there go to the end kind of just tweak that in the opposite direction notice I left my animation graph open there so we can kind of tweak with this a little bit more so if I wanted to we can really finesse this animation to come to a nice smooth kind of stop so that's looking pretty good let's go ahead and animate some text now I'm gonna line up my camera and I'm going to add some text to this going back to my scene setting add 3d text and it's there but I can't really see it and that's the reason we have before for that is it's actually behind or inside where that that grid is because I made everything at zero zero zero so I'm just gonna take that whole instance here and just kind of push it back in space alright so there's our text by the way it says I'm o2 by default I didn't just set that up as part of the demo so I had someone ask me like why do you always have it say that I'm like it's built like that and I'm gonna change this to the word construct because we're building these big stones right it's very exciting and I'm gonna go back into our styles and very quickly and easily make it copper and it's a little hard to see right that doesn't really look like copper to me so I'm gonna go back to my scene settings where I had my environment and we're just gonna adjust this environment and because it's using that studio lighting right it's being rotated in space so let's make that a little bit more interesting right I'm gonna take this from the very beginning here and I'm gonna add a keyframe go to the end and add another keyframe and just kind of make it dance over the edges so now you can see how it's catching the light on the sides as well as onto the actual text and this is a little too close for me still so I'm just gonna push it back alright and I'll zoom into that now let's go ahead and animate this text really quick so with my text selected I'm gonna go to the animation and there's a whole separate text behavior so we looked at object behaviors which are great because I'm moving one thing or I'm moving a camera but what about what happens when we come to text a lot of times we want to do it per character and that's where this really shines because I have animation in animation out specifically for that text I'm gonna go ahead I'm gonna pick this arranged in so it's right there and it kind of just moves on in there yeah and that's that's pretty exciting let's go ahead and work with this camera just a little bit more maybe I don't want it to really finalize until here so we'll just end that current frame move back to my camera and I'm just gonna tweak this a little bit more I have not been able to see that just yet I know that is something on the wish list so I you know if that's something that you would really like to see I be sure to send out an email to them I just personally haven't seen it doesn't mean it's not there and I haven't found it but I haven't seen it when all's fails I mean you could always just create an extra keyframe there for yourself so visually you know like okay it's there that would be what I would do in a pinch so we've got this guy in here and I'm also gonna animate our camera but I'm gonna duplicate him here really quick first and the reason for that is because we're gonna do something a little special with that guy with this one I'm just going to have it animating in on the Z again just give it a little bit of that let's turn that one off so as it's moving now we're catching that light and I talked about this other one I'm gonna turn this camera off and turn this one back on and for this guy let's go off to the side let's go off down here and kind of catch it from a different angle so if I work with this and rotate it just a little bit there we go we can animate between cameras so for that I mean like we have this camera visible right now right and that's gonna be a little too high we're gonna move this up and I'm gonna animate its position just really quick we'll just go nuts with it put keyframes on everything and I'm gonna have that just kind of move on down and then right when it gets about here or so I want it to switch to the other camera and so I'll make a keyframe here go another spot and then turn it off and now it's going to jump to that other camera so I can have these cameras on there and then it'll just bounce between them when I have that animated on there right we can further this by you know adding some more lights and details to this but I do believe I am just about out of time so if you guys have any questions I'd be happy to take it for you for you later but that is mo - thank you guys so much for letting me present this [Applause] you

Channel: Michael Horton

Views: 10,352

Keywords: editing, NLE, LACPUG, Avid, Adobe, Apple, FCPX, Final Cut Pro, Premiere Pro

Id: AGRUEQnT-08

Length: 45min 42sec (2742 seconds)

Published: Wed Oct 31 2018