Robin S. Kurz shows the power of Motion 5

this Final Cut Pro 10 tour presentation is brought to you by the loom afford share station the world's best storage for final cut 10 for more information on how the share station can improve your workflow head on over to luma forge com thank you Ola Barcelona and that's it that's all I'm gonna give you I lived in California for quite some time and they used to always say you're living California now speak Spanish but I never got that far well I'm first off very excited to see so many people here that's very very cool okay hold on just two seconds there we go there you go all right my name is Robin kurz I'm primarily an editor but I'm also a Apple certified trainer and so called ace which is a Adobe certified expert in something I know and I also run a internet portal post professionals dot de because I happen to be an American living in Germany and I have comprehensive training in German so if anybody wants to learn final cut and German hey I'm I'm the guy yes and that was the wrong transition but oh well I'll take it I'm here to talk about motion basically because hardly anybody ever does and that's too bad because I'm a big big fan of motion I actually started with After Effects myself in my Hindi Sun thing Arthur I think three or four so even before belong to Adobe so I know it very very well and I actually even worked for Adobe using doing at reflects demos and stuff and then around 2000 I believe motion came out and I was pretty much taken aback at its performance its abilities and everything and then its integration with Final Cut because Final Cut on the other hand was my NLE of choice so I got into it more and more and I hope to be doing a a German language motion training on that also very soon it's been I've been planning it for ages so yeah basically I just wanted to hear I saw that there's a lot of Final Cut users here which is obviously very cool how many motion users do we have I actually split this up into in two things who bought motion let's put it that way who bought motion now okay is a few okay because who uses motion that's two different things right yeah motion was always I mean with Final Cut studio was like that app that was on on your disk and you went oh hi and open it up usually screamed loudly and shut it back down again because you're like I don't know what this is all about and it looks very frightening it's at first but as with Final Cut just you know a little practice in your and you're good so who uses after fix okay se hmm like I said I'm a huge After Effects fans one of the best compositing apps and there are of course I always have Yannick Lee one of the first questions I get when people know that find out that I that I use both is what should I get should I get a motion or After Effects and I just go that's the wrong question the question is what do you need to do there's oftentimes is this perception well after fix it's the app to have when it's you know when you're doing graph motion graphics or some compositing or maybe some visual effects and stuff and it most definitely is and it has its huge strengths and it has its weaknesses just as it is the other way around with with motion a motion first and foremost is extremely fast it has a real-time engine and I would like to say that about 80% of the things I know people do with After Effects they could just as well do with motion only much faster and if you're using premiere obviously a practice is going to be your choice there's absolutely no problem with that if you're using Final Cut honestly I don't know why you're not using motion especially if you already know your way around after effects it shouldn't be that hard so the question is Apple motion why like I said first of all the the Final Cut integration even though I know a lot of people are making different claims the integration with Final Cut is deeper than After Effects is with premiere a lot of people say well you can't send from the timeline but aside from that it is much much deeper I always called motion final cuts developer app or developer environment because it's a huge support for for Final Cut the feature set there's a lot of things after fix doesn't have again just as it is the other way around so it could probably make a lot of sense for people that do a lot of motion graphics titling the you know that kind of work to take a look at it and if they're doing it with After Effects if maybe you know those things that they're doing the most if motion can't a do them and be maybe doing better or maybe even doing faster at least faster is is a good thing right there's also a huge ecosystem whoever is not familiar with them FX factory and motion VFX and free there's massive amounts of free effects free transitions free titles and so forth FX factory I hope to get to that real quick the motion VFX Simon good friend of mine they do brilliant work they do amazing plugins and like I said the free part is of course not so bad because basically I can build transitions effects and generators and titles and whatever in motion and whoever has Final Cut can use them as such speed it's just very very fast obviously the real-time engine is always limited to the abilities of your computer if you're using an lc3 from 1984 you're probably not going to get very far but Final Cut and and motion both are very GPU intensive meaning you need a great graphics card so obviously a Mac Mini is not is going to hit the ceiling of real time sooner than this wonderful machine over here of the MacPro possibly the most important reason money right what about the price I don't know does everybody know that motion in fact costs forty nine dollars or forty nine euros I don't know what is it in Spain is it that also in Spain yeah okay so it's forty nine euros in Spain just as a little comparison motion 49 euros that works out since the day it came out June 2011 to this day I would be paying three cents a day or ninety cents a month and obviously that's going to be going down over time right after fix you see if I'd bought that on the very first day I would have paid as a single license mind you this is not the sweet 822 date and obviously that's going to be going up over time so the licensing model also I don't know how many people I personally am NOT a huge fan at all of the subscription model because I feel like I'm renting my own work right because I mean the day I decide to maybe switch to something else or run out of money I don't know my work is gone I can't access it anymore and I think the fewest people think about that okay let's get to the real thing obviously I'm not going to make you a motion editor today what I just want to do is give you a very very very rough look at what you can do with motion and maybe inspire you like I said to take a quick look at it for example in terms of rotoscoping if anybody ever has to do some excessive masking this I happen to have this with me so I thought I'd pop it up this is a shot I did for a commercial that I edited it's uncorrect that's what's really crappy colors but and basically you can't really tell but it's running backwards so the cars in the back are going backwards and has a little bit of a retime and we couldn't have them going backwards because so I had to go in and basically stop all the cars so now if I look at it the cars are gone how did I do it well pretty simple it's called rotoscoping and this basically just consists of various little masks in fact as far as masks are concerned what I love about motion it has a so-called b-splines so b-splines are not your Bezier curve these are like B splines they make for very very organic masks and I can go in here and just change the tension of the mask to make either a corner or a very loose curve so that's something I really like about motion and so basically if you look at this that's the mask so all the cars have disappeared it's a very very rough fortunately there wasn't too much detail in there but let me just tell you this is unrendered and this is 4k okay so and as you can see even if I go in here while it's playing while it's playing I can sit here and change and fiddle and in that case even animate the masks there's no rendering there's no stopping and if you go look up here well okay we're not quite at the 25 it should be but it's at 19 so we're near near-real-time 4k a lot of mass I think that's pretty cool okay so just to that I won't save that not that I ever need it again let me just show you really really quick this is something I just whipped up for the fun of it using all just motion components I know I'll be winning major design Awards so remember my name okay so this is basically what I just wanted to show with this if I do another little outpoint and just okay what we have here is these three little deals going the thing in the back and then we have the thing let me point out this does not have if I go into the keyframes there's not a single keyframe in this okay not one so how do I do it what the motion has if if you've never dealt with it as so called behaviors behaviors do exactly that they teach an object a certain behavior it could be its relationship to another object or whatnot so people that are very deep into After Effects will know this as expressions and these are kind of like little expression containers if you will so I just want to show you real quick believe it or not I can do this very quickly and just give you an idea of what I did I'm sinking in ooh and here you already see that we've got the fountain effect generator transition entitled so depending on what I select when as soon as I save it if it's not just a regular motion project a motion project I save like any other document onto my desktop into my folder or whatever anything else the effect the generator the transition automatically saves itself to final cut into that browser okay so it's immediately accessible for me as soon as I'm finished I'm going to make that a title I'm going to go crazy here I'm going to do HD ten seconds that's good enough and I'll just say open zoom back and it'll shift Z okay so now the standard two objects here are the title background and this is like just a standard title and I could start typing and there we go but I'm going to kill it because I don't need it get rid of that for now up here in my object you'll see I have cameras I have lights I have everything I have drop zones I'll hit a drop zone who doesn't know what a drop zone is okay if you've worked in Final Cut you'll see some of those filters and they have this little thing and you drop it on there and it's is arrow and all this I can make my own drop zone so this is basically a placeholder for material I can put in later so it's exchangeable at any time so if I'm basically just doing a say you know corporate something and I can always exchange b2 logo or whatever okay I'm going to hit f1 and just scale this down to say about 75% there we go and then I'm going to go down here just grab a little rectangle from the rectangle tool I'm going to drag this out so it's just roughly around their position it and what I love about well if it's on at least there we go a love about motion it always has these nice little guides so we have a bunch of little guide so I know exactly that I'm in the middle here go over here to the mask or the shape and I'll even go to where is it geometry and do the roundness so I get rid of those corners a little bit and what's so exciting about that well I'm going to take the drop zone and I'm going to say it's give you where is it and image mask and the image mask is this little rectangle so I'm just going to drop it on there and boom I having my first drops on OK so what do I do now by talking about behaviors if I don't want to futz with a bunch of keyframes because I can get messy depending on what I'm doing it's always a good idea to wonder whom can I do it with the behavior because they're easier to deal with so I'll just select the group I'll go to behaviors and I'll say basic motion and here I have a motion path if I play it then it just starts taking off so what is it doing it's just kind of going off-screen not what I want and it's doing or over the entire length of the project so it's going to be a lot shorter I'm going to switch this to timecode and say I want it to happen in about one second I'll move here to one second oh ok so now it's doing it much quicker of course obviously in the wrong direction and the fun thing is if I put this and just shoot this out while it's playing actually change the position it'll constantly loop while and like I said this is the the real time effect ok I'm going to zoom back real quick and go over here and I want it to come up we go ok I'm always always immediately seeing and I actually took the wrong one ok so we're just going to reverse that sorry put that in the middle back in the middle of that back up go to the beginning there we go ok so now it's coming down simple enough not a single keyframe now the nice thing about this is like I said this is the path so if I wanted to go slower I just make it longer and it extends the time I don't have to futz with any keyframes of course it the movement is kind of nasty so is just going to clunk down so I can go over here to the motion path and say that the speed is both so it kind of comes down in in a nicer speed ok so that's my first guy what I'm going to do now I can just go in here and use all I had three of those I'll just hit the Alt key and pull this over here funny enough I have a copy in there but he's taking the wrong mask so I just pull the right mask on there then we have the second one as I need it and I can take this hold the Alt key pull it over I have the third one and then just up to correct the mask here and then I have all three of these guys ok I'm going to stop that take these three and move them over a little bit take this guy oops alright take a move right there select all three of them go the align and distribute horizontal centers there we go okay so I have these three obviously I don't want them all coming down at the same time so all I do is even close my timeline I want to hit shift Z for this and then go in here because I down here I have the mini timeline as it's called if you look down down here as soon as I have anything selected I see just that object so if I go over here I see where it sits positioning in the timeline so the first one is way over there that's going to come down first this one is going to come down a second so I'm just going to pull it down by like 13 frames and do this one by like 26 whoops which is 101 there we go and that would just be like the rough animation let's go in the library just go down here to the content backgrounds and let's switch over here and have my fun little sunset style whatever that is where is it here it is take that and just slap it in the background there we go and then we just f1 these are a little older that's when they never scale quite right and just scale it right up like I said I'm not stopping playback at any point we are doing the 25 frames at all times so now I'm a little animated background right I'm going to pull these out just a little bit I'm going to put this one in the front let's see go over the position and we have a Z position so I can just move this up by like 50 pixels take the second one so now it's actually actually stopped it for one second I can hit the Q key and then I have little 3d controls here if I want and I have little I can pull this forward and backward and I can move this one a little bit forward so it's in fun of that and this one a little back now oddly enough they're not actually behind each other and because we're still in 2d mode so if I add a camera he'll ask me do you want to switch to 3d I do that and they pop into the actual depth mode because if I go into my camera I can see aha they are okay so I can go in here and then just fine-tune that if I wanted to just go like that like I'm just going to do the fast version I also have the possibility of going into perspective mode meaning I can look what everyone in my set is doing including my camera whoops let me take this and there I see my little camera looking at my scene and what's nice if I'm here for example and that's something I always miss in After Effects is if I start moving this around look what you get at the bottom right you're getting a little preview of the camera so I'm not only saying I'm moving it in the scene but it's telling me like and I've done that so many times I'm like okay just go Oh too far damn it then you go back like that okay so that's a really cool little feature I like command Z okay now back into the actual camera I'm not going to do the full thing here just for time sake another thing I can do real quick is oh I'm sorry here's the object put in a little light kaboosh oh look at that I got me a light and I can position this light in 3d space I'll just go over here this is the oops where's the hood is the HUD this always keeps us gives me like the most important information over my object I'll turn off the fall-off whoops turn the fall-off that way I don't move it back a little bit and we'll turn on shadows and boom there we go move it over a little bit like that look at like a perspective shadow that's nice then go over here to shadows and soften them up stop and way up there we go okay so now we have our little perspective oops command Z our little perspective shadow mmm there we go okay so I could then just go in here take hit T for my text tool as I'm working here I just click in there and I say I whoops trip - Lorna am I even typing there yeah I think it's behind everything hahahaha that's the problem when you're working in 3d space okay so it's like it hid behind my my background okay so that's one of those little gotchas okay I'm being very sloppy here I should actually have made a new group for it there we go now text my trip to role and it's still behind will escape out of that move it up okay you get the idea all right I'm gonna go into perspective mode and see where he's hiding he's hiding right there okay so now I can see as long as he's here man back here and I'm good okay right now okay so we have him let's really cool I can just give that at another behavior which is a by the way just on a side you have like simulations gravity orbit around etc if you need some really elaborate organic types of animation like orbit around if you were doing like a planet animation you could literally decide okay take this circle this picture of one planet and just orbit around my son picture okay my earth picture please orbit around my son picture and then has a certain speed and etc etc you can do things bump each other off so it's stuff that you can't actually do with keyframes well I would least I wouldn't try and for text I have various I have like a bazillion we're going here real quick into the library and into where is it my behaviors then I have text animation behaviors if you select these takes sequence energetic for example and just look at these these are the types of I get a little preview up here of the different types of animation that I can simply apply to my text and it animates that way I'll just go over here they're just sequence text throw that on there say I don't want it to look see don't want it to happen longer than the sit down two out and then once I have the sequence text applied to my text anything to I'd that I do to it now turns into an animation and I have just the single letters and I just say you know what start up here and then you starts up there and everybody follows it just sequences through the whole thing I can go in here and say you know start up there and be turned of course now it's a little too too fast for you to see it but if you look closely you'll see that they come turned in so that's a very quick way of just doing my own type of animation then I can just go over to f4 to the behaviors and I can do the spread so that more letters come down at a time I can randomize them I can do this ah so the seed offset etc etc and to just speed it up I just shorten it all up and there you go I have a very quick and easy type animation oh one more thing one tiny last thing go into camera and I'll put in a little sweep onto the camera and what that does is kind of slightly sweep my camera across the whole scene if we look at it come back a little bit and then you'll see it's a sweep in my camera automatically I don't have to do it I'll go slowly just move it to a certain degree so we'll just leave it like this forget I'm just showing you the principle of the matter and I'll just hit command s there you go now it asks me what would you like to call it I'll call it triple drop there we go and ask me where do I want to put it I'll put it in a new category and call it f CP ex tour and create the cat or warrior because you might know that in Final Cut you have categories and you have subcategories etc and themes so if I'm doing something for a client and I'm doing a title I'm doing a an effect I'm doing a transition that are all see I can form I can put them all into one theme theme so I can see everything I have for a certain speed at a client or a certain project I'll see you all you know everything put together I'll just put that into another theme and use in that theme tour just so you can see it say okay hit publish and that's it I just hide this go into Final Cut here we go at CP inaction is great but I'm going to go in here and just open this and we'll just go in here okay so and as you can see right here I've got my FEC px tour and here's my title and the thing is zero rendering nothing real-time this thing plays the exact same speed as an activity both share the same engine so anything you know if I went in there of course if I start doing motion blur and I started doing depth of field and all that kind of particles replicators there's just a bunch of really really really cool stuff in there then the real-time is going to suffer but we'll just take this hit cue put it in there and have my little drop zones so go into my material let's see I'll go in here GoPro and I can actually just take this and drop it on there I'll go back here and already I have the first piece of material just right in there all in real time okay I just exchanged it over here now the thing is there's two bones missing because I copied the drop zones normally if I add as many drop zones they automatically get published let me show you that just real quick Oh another thing is you're not stuck with how they're how they're in here I can just do a double click and look at this I can actually move them here too it's not like I have to go in and change my drop zone I can just go in here and say hey there's that's the helicopter down there so please go from there and there we go okay so it's extremely flexible on top of it okay so this didn't work out right so I'm going to go back in here do a right click on that some completely forgot to even mention this I'm sorry to say everything you see in Final Cut except for very very few a basic stuff is a motion project okay and third party stuff isn't a motion project if you do a right-click on pretty much anything title or generator or whatever you'll always see open a copy of motion that means I can always edit it at any time it's an copy is made and I can edit it in this case I'll just go here open in motion since it's mine it doesn't have to do a copy and I'll just go in here look for the drop zones and go over here and I'll pass a publish and I'll go over here and I'll just say publish and over here and say well it's already published that was the first one say save go back to final cut go back to my little thing I have to replace it because the instance in the timeline is going here and there I have my three three drop zones at the top okay then I can start doing rigs okay that's a whole nother story I'm just not enough time for that unfortunately but let me just show you one or two last little things like I said the flexibility and the integration is amazing I mean After Effects and Premiere also not like this now not like this okay I'm sorry to say I like I said I love After Effects two last things third party just real quick I have like call-outs for example from the gentleman at motion VFX I don't know if anybody's familiar with these guys they just brought this out this is their second plug-in of this sort this has a built-in tracker so I can for example if you look at this title down here middle amendment listen that's a wonderful word then disappears again that's nothing terribly exciting but if you look here that's a little track point so if I get on this and I take this little track point and set it say for example onto this bike and I'll say from the middle just track that and has a built-in tracker and is now tracking this title on to the back end of the bike as you can see so this is something I don't have to go to motion form I could use motion has a point tracker that is built into the title I will only be from the middle to showing it real quick so this is pretty amazing it will be there and then at this point it'll start tracking in onto the bike and then disappear that way okay and this is a huge set of very very nice titles as you can see I love these guys and like I said they have an amazing amount of templates on one line that you can take it take a look at couldn't show you X and motion that's where you can send things from the timeline clips and entire sequences if you want to / - motion do the work there send it back that's the only thing that the final cut 10 doesn't have that for example fine cut ze used to have that you could just send single clips over to motion and whatnot okay that's almost it I hope I didn't forget anything one last thing thank you - hey Susan Ronnie I have to say that because you guys have done an amazing job you have really really they've they've been going crazy understandably have do this for almost you know just out of idealism not getting major amounts of money or anything they just do it because they love to do it and you guys I'd love to give a big round of applause you

Channel: FCPX Tour

Views: 86,227

Keywords: apple, motion, graphics, fcpx, finalcutprox, fcpxtour, workshop, demo, barcelona, bnc, afterfx, after effects

Id: 5r_Nc7Hqjdo

Length: 29min 47sec (1787 seconds)

Published: Tue Nov 15 2016