In this tutorial by macProVideo. From there Michael shows you how to читать полностью with Generators and introduces Buy apple motion 5 free download. Table of Contents: Introduction Building an Effect Preset Publishing Parameters Unpublishing Parameters Building a Custom Transition Complex Transition Effects Overriding Default Durations Adding a Background Clip Publishing Parameter Groups Creating a Title Modifying a Title Template Adding Background Elements Creating a Generator Using Generic Motion Projects Building a Rig Adding Parameters Edit Rig Mode Using Slider Widgets Viewing Templates in the Finder Creating Preview Movies Sharing with Friends.

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5 FREE Titles for FCP & Motion 5 – Simple Video Making

 
And instantly jump back to Motion at any time for more advanced changes. In the HUD, sometimes when you try to adjust properties, the slider moves too fast. Follow this app Developer website. Here is a brief list of some keyboard shortcuts that are great to start learning and are exactly the same in most Mac applications:.

 

Buy apple motion 5 free download. Apple Motion 5 Cookbook

 

Hold down the Shift key and grab the side corner again. Notice how the image scales uniformly. Press F1 to open the Properties tab of the Inspector. Scale the image downwards while paying attention to the Inspector. Notice how the scale updates. Some of you may have noticed the i icon at the upper-right hand corner of the HUD, as shown in the following screenshot:.

By clicking it, we got to the Inspector. Whenever you work in Motion and the HUD doesn’t have what you’re looking for, go to the Inspector for more options. Also, when we held down the Shift and Option modifier keys, we were able to scale our photo uniformly from the center. The general rule is this: modifier keys can make our life easier when trying to manipulate properties in the Canvas and the HUD.

For example, if you try to rotate your image in the Canvas by dragging the circle to the right of the center and hold down Shift , we can force our still to move in 45 degree increments.

In the HUD, sometimes when you try to adjust properties, the slider moves too fast. So eventually as Motion graphic designers, we’re going to have to animate stuff and part of that battle lies is our ability to move around and adjust layers efficiently in the application.

There are two ways by which we can adjust the timing as well as trim layers in Motion—by using the Timeline and mini-Timeline. The big question is why choose one over the other. As of Motion 5, both areas are displayed as soon as you enter a project. The Timeline will show all of your layers and the relationship those layers have with one another, spread over time.

The mini-Timeline only shows the selected element from the Layers tab that is, filter, behavior, clip, and so on. The Timeline is great for making timing adjustments when they revolve around the relation of one layer to another. On the other hand, the Timeline can become a very busy place, very quickly.

The mini-Timeline is a great place to focus in on the selected item at hand. Let’s have a look at adjusting layers in both the areas. There are two groups in this project; a text group and background.

Press the Space bar to play the project. This animation was done with behaviors, which we’ll explore in Chapter 3 , Making It Move with Behaviors. Simply, one text layer fades in after another.

Before fixing the timing of the text, you may have noticed that the text appears off alignment. Your text is now distributed evenly. In the following screenshot, you can see the order of our number layers in the Timeline. We want to change the order of the layers by fading in the first layer, followed by the second, and the third.

We’re going to make our first change in the mini-Timeline. To hide the Timeline temporally, go to Window Timeline. We want ONE to begin at 1 second. Select ONE and drag the layer’s in-point value until it reads ; Play the animation. Drag the ONE layer’s out-point in the mini-Timeline so it lasts till the end of the project.

Let’s finish the rest our work in our Timeline. Wait for its in-point to snap to the TWO layer’s out-point and then release the mouse. Type 2 , followed by the return to move to the two-second mark. Select the TWO layer and press I to trim its in-point to the playhead. Press the home key and then the Space bar to check if the timing works. Use the following screenshot to guide you:.

You can move your playhead by entering in numeric values. It’s a good habit to make sure no layer is selected before attempting this operation. You can move layers the same way you move your playhead. One of my favorite things to do when I first started learning Motion was to open some of the templates the application shipped with and try to figure out how it was created.

This gave me a real feel for the inner workings of Motion and the possibilities! Let’s open one of Motion 5’s templates and customize some of the features. Launch Motion from the Dock or the Applications folder. From the left-hand side of the Project Browser , choose the Skyline template folder.

Select the Skyline Menu project, and from the bottom-right hand side, choose Open a copy. The project starts off with a radial background where buildings and a ribbon grow from offscreen to onscreen followed by a few titles fading in over top of them. After reviewing, we’ve decided we’d like to change the color of our background, the color of the ribbon, and put in some text to suit the project better.

Move your playhead to an area where you can see all of your elements onscreen, or double-click in the Time field and enter 3. In the Layers tab, reveal the content of the Background Group by clicking the disclosure triangle. You will see a single layer that is a still image; it has a radial gradient, as shown in the following screenshot:.

Since this is a still image from another application, we have to add a filter to change its color. Go to the Filters category, select the Color Correction folder and locate Colorize use the following screenshot as your guide. Drag it to the Background Elements layer. Press F3 to go to the Filters tab of the Inspector. Control-click the Remap White value and select a blue color of your liking. Let’s repeat this step for the ribbon.

Click the disclosure triangle to close the Background group. Click the disclosure triangle to reveal the content of the Graphics group and the Ribbon group, as shown in the following screenshot:. The Ribbon group is composed of three rectangle objects that have behaviors animating them onscreen.

While we can locate the original rectangle shapes and tweak their color, it’s a lot easier if we add a filter to the group and change the color for all the elements within that group. Go to the Filters category, select the Color Correction folder, and locate Colorize. Drag it to the Ribbon group in the Layers tab, as shown in the following screenshot:. Right-click on the Remap White value and select a yellow color of your liking. Repeat this step for Remap Black with a slightly off yellow color from your previous selection.

Click the disclosure triangle to close the Graphics group. Open the Text group. There are five text elements, one for each text line onscreen. To change the text, select the Title here group. Press F4 to go to the Text tab of the Inspector.

At the bottom, change Title info here to Motion 5. Repeat this step for the subtitle layers. The following screenshot shows the Format Pane tab in the Inspector for the Subtitle group:. The following is a shot of the Canvas showing the template once all subtitle groups have been changed:.

When you open a template, you never switch the original file on the system. That’s why in this recipe when you selected the template, Motion only gave you the option to open a copy. The original templates will never be overwritten. Having trouble differentiating what every item is? Here comes solo to the rescue. You can see that item all by its lonesome. In other words, if you learn ONE of the Adobe apps, you can port your knowledge from one app to the other, and have a pretty good chance of it working out for you.

On the other hand, moving between the Apple Pro Series is rather difficult, and you need to re-learn for each application. Apple “Color” is a prime example of this.

This program seems quite good, but I think that the Adobe suite is just easier for me at least. Guest Nov 10 They are two complete separate and different tools aimed at similar minded users, but never made to compete, in my view. Motion fills the gap nicely which AE had left open for some time – realtime fun! Guest Feb 13 I’ve worked with After Effects, Combustion and Flame for years. But to say that this product is anywhere near ready for professional use is a stretch.

Motion is buggy, and lacks numerous features when compared to competing products. The lack of time-remapping ability alone is confounding. Good luck at least with the ones worth having Wait until version 2. Maybe version 3. Guest Dec 26 My best choice in so far: Motion. It fits perfect together with Final Cut 4. The only downside, I had to get rid of the old G4s, but this will help me get rid of legacies which in the end tend to cost more than moving on to new Macs!

Among the most appreciated features in Motion are particles, full 10 bit support, Excellent interface; interactive playback; great particle system; extremely powerful behavior mechanism and last but not least a great price!!! Video editors and motion-graphics pros wondered if Apple’s new product would provide an alternative to their current compositing application, be it Adobe After Effects 6.

The answer is no-the program is not an outright replacement for those far more expensive tools. But after using Motion for just a few days, you may be surprised at how much of your compositing and graphics workload you will choose to move to this excellent new contender. While Motion doesn’t provide any features that the competition doesn’t already handle, its combination of nearly real-time performance and a simple interface will cause animators, titlers, and compositors to take a serious look at its capabilities.

The program is so tightly integrated with Final Cut Pro HD that video editors who have been looking for a more powerful titling tool than the one built into Final Cut will find an excellent solution in Motion. Guest Dec 14 From Apple: “Download the Motion 1. To take your Motion projects even further, you can download free effects, including five filters and one generator. You can also download additional tutorials to help you get the most out of Motion.

Dbesade84 Dec 13 Here is a couple tips for users with machines that are a bit long in the tooth. Go to the next level by adding 3D objects to both particle systems and replicators.

Choose from over paintbrush presets or design your own using color gradients or QuickTime files. Create pressure-sensitive brushstrokes that paint gradient colors or particle dabs. And SmoothCam eliminates jitters and bumps — so it looks like your footage was shot on a tripod while still retaining camera moves like pans, tilts, and zooms.

Create an accurate chroma key in a single step with the easy drag-and-drop Keying filter. If the green- or blue-screen background in your footage is unevenly lit, you can use advanced controls, including an intuitive color wheel, to fine-tune adjustments.

Plus, you can play back the results without needing to render. Instantly apply those effects to your Final Cut Pro timeline and export a video optimized for YouTube, Facebook, and other popular video destinations. View them in real time with a VR headset or use the Look Around view to pan across your project in the viewer. Instantly transition from 2D to 3D space by adding a camera or cameras to any 2D project while preserving your 2D groups.

Animate and adjust the cameras to create smooth, realistic 3D movement. Set up point lights and spot lights to cast shadows across objects. Fine-tune shadow appearance by specifying colors and edge types. When you set your elements in motion, shadows animate dynamically with the movement of objects and lights.

Turn any shape, video plane, or paint stroke into a reflective surface. Add blur to soften reflections and use the Falloff feature to fade reflections as the object moves away from the light. Choose from more than built-in FxPlug filters and generators. Choose from thousands of custom transitions, titles, and motion graphics.

Work directly with third-party applications through workflow extensions. This license is commonly used for video games and it allows users to download and play the game for free. Basically, a product is offered Free to Play Freemium and the user can decide if he wants to pay the money Premium for additional features, services, virtual or physical goods that expand the functionality of the game.

In some cases, ads may be show to the users. Demo programs have a limited functionality for free, but charge for an advanced set of features or for the removal of advertisements from the program’s interfaces.

In some cases, all the functionality is disabled until the license is purchased. Demos are usually not time-limited like Trial software but the functionality is limited. Trial software allows the user to evaluate the software for a limited amount of time. After that trial period usually 15 to 90 days the user can decide whether to buy the software or not.

Even though, most trial software products are only time-limited some also have feature limitations. Usually commercial software or games are produced for sale or to serve a commercial purpose.

To make sure your data and your privacy are safe, we at FileHorse check all software installation files each time a new one is uploaded to our servers or linked to remote server. Based on the checks we perform the software is categorized as follows:. It can be used to organize materials in your project or perform operations to several elements at once. For those of you who use Final Cut Pro X, you may be familiar with compound clips. Compound clips allow you to reverse render operations or make universal changes to several objects at once.

Let’s take a brief look at some of the fundamental differences between groups and layers in this following exercise. There is one group that contains a circle and a square.

Click on the Library tab. Select Filters Distortion Bulge and compare your results to the following screenshot:. Notice how the bulge only affects the rectangle. Press F3 to open up the Filters tab of the Inspector. Adjust some of the parameters to get a feel for what it does. Select the Bulge filter and drag it from Rectangle to Group. Notice how the bulge now affects both the circle and the rectangle, as shown in the following screenshot:.

Delete Bulge by selecting it and pressing Delete. Select the Circle layer and press F1 to go to the Properties tab of the Inspector. Drag the Scale slider to the right up to , or double-click on the scale number and manually type it in, as shown in the following screenshot:.

Go to the Edit menu and select Undo until you get back to Select the group and press F1 to go to the Properties tab if needed.

Drag the Scale slider up and notice how both the circle and rectangle increase in size, as shown here:. A default group was created with the Motion project. If you want to create a group in Motion from multiple layers, you can select them; just go to the Object menu and select Group.

There is also a plus icon at the bottom of the Layers tab, as shown in the next screenshot. This creates an empty group above the selected group. If nothing is selected, the group goes to the top of the Layers tab. I cannot stress enough that it pays to learn your keyboard shortcuts. It will allow you to perform tasks more quickly and efficiently instead of going to menus. In this recipe, you went to the Edit menu to undo your last action.

This is one of the shortcut keys that isn’t only good in this application, but on the majority that run on your OS system. Here is a brief list of some keyboard shortcuts that are great to start learning and are exactly the same in most Mac applications:. Motion is all about allowing you to make changes to the elements in your project. Some of these changes will be animation tweaks while others will be regular scaling and repositioning tasks.

Let’s take a look at a different way of changing the scale and position of a still image. With the still selected, choose Import from the top of the File Browser. Select the still image in the Layers tab and press F1 to go to the Properties tab of the Inspector.

Adjust the Position , Rotation , and Scale settings of the still to your liking. Click the reset arrow at the top of the Transform section to reset all of the properties, as shown in the following screenshot:. If your photo was larger than your project’s properties, it may now be larger than your Canvas.

Motion’s default method when importing photos is to scale them down to fit the project. When you reset a still image, it goes to its original scale value. If this is the case, all you need to do is scale the photo down until it fits nicely in the Canvas window. The Head Up Display HUD is a semi-transparent floating window that shows certain properties of a selected layer, filter, or behavior.

In certain instances, it provides us with quick access to some of the most used parameters of the current selection. In the case of this still, it gives us Opacity and Blend Mode. Adjust the Opacity value to around Go to the Edit menu and choose Undo. With the still selected, notice the bounding box around your photo.

We can manipulate several Transform category properties directly in the Canvas, and this bounding box allows us to do just that. Drag any side corner of the image and scale the image down. Notice how the image doesn’t scale uniformly unlike how it did in the Inspector.

Hold down the Shift key and grab the side corner again. Notice how the image scales uniformly. Press F1 to open the Properties tab of the Inspector.

Scale the image downwards while paying attention to the Inspector. Notice how the scale updates. Some of you may have noticed the i icon at the upper-right hand corner of the HUD, as shown in the following screenshot:. By clicking it, we got to the Inspector. Whenever you work in Motion and the HUD doesn’t have what you’re looking for, go to the Inspector for more options.

Also, when we held down the Shift and Option modifier keys, we were able to scale our photo uniformly from the center. The general rule is this: modifier keys can make our life easier when trying to manipulate properties in the Canvas and the HUD. For example, if you try to rotate your image in the Canvas by dragging the circle to the right of the center and hold down Shift , we can force our still to move in 45 degree increments.

In the HUD, sometimes when you try to adjust properties, the slider moves too fast. So eventually as Motion graphic designers, we’re going to have to animate stuff and part of that battle lies is our ability to move around and adjust layers efficiently in the application.

There are two ways by which we can adjust the timing as well as trim layers in Motion—by using the Timeline and mini-Timeline. The big question is why choose one over the other. As of Motion 5, both areas are displayed as soon as you enter a project. The Timeline will show all of your layers and the relationship those layers have with one another, spread over time. The mini-Timeline only shows the selected element from the Layers tab that is, filter, behavior, clip, and so on. The Timeline is great for making timing adjustments when they revolve around the relation of one layer to another.

On the other hand, the Timeline can become a very busy place, very quickly. The mini-Timeline is a great place to focus in on the selected item at hand. Let’s have a look at adjusting layers in both the areas. There are two groups in this project; a text group and background.

Press the Space bar to play the project. This animation was done with behaviors, which we’ll explore in Chapter 3 , Making It Move with Behaviors. Simply, one text layer fades in after another. Before fixing the timing of the text, you may have noticed that the text appears off alignment. Your text is now distributed evenly. In the following screenshot, you can see the order of our number layers in the Timeline. We want to change the order of the layers by fading in the first layer, followed by the second, and the third.

We’re going to make our first change in the mini-Timeline. To hide the Timeline temporally, go to Window Timeline. We want ONE to begin at 1 second. Select ONE and drag the layer’s in-point value until it reads ; Play the animation.

Drag the ONE layer’s out-point in the mini-Timeline so it lasts till the end of the project. Let’s finish the rest our work in our Timeline.