Apple Pro Training Series Motion 5 Mark Spencer
Apple Pro Training Series: Motion 5 Mark Spencer Copyright © 2012 by Peachpit Press Published by Peachpit Press. For information on Peachpit Press books, contact: Peachpit Press 1249 Eighth Street Berkeley, CA 94710 (510) 524-2178 www.peachpit.com To report errors, please send a note to errata@peachpit.com. Peachpit Press is a division of Pearson Education.
Acknowledgments I’d like to thank Dion Scoppettuolo, without whom this book wouldn’t be in your hands; Kent Oberheu, another trailblazer; the Santa Monica brain trust; Sharon Franklin, who introduced me to Peachpit; and Marjorie Baer, who started it all.
Contents at a Glance Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii Motion Fundamentals Lesson 1 Lesson 2 Getting Around in Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Building a Composite. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Animation Lesson 3 Lesson 4 Creating Animation with Behaviors . . . . . . . . . . . . . . . . . . . . . . 89 Animating with Keyframes. . . . . . . . . . . . . . . . . . . .
Table of Contents Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiii Motion Fundamentals Lesson 1 Getting Around in Motion. . . . . . . . . . . . . . . . . . . . . 3 Following a New Paradigm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Opening Motion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Importing a Video Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Setting a Play Range. . . . . . . . . .
viii Contents Animation Lesson 3 Creating Animation with Behaviors. . . . . . . . . . . . 89 Adding Basic Motion Behaviors . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Stacking Behaviors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Using Basic Motion Behaviors in 3D . . . . . . . . . . . . . . . . . . . . . . 97 Using Simulation Behaviors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Applying Parameter Behaviors . . . . . . . . . . . . . . . . . .
Contents ix Lesson 6 Creating Text Effects. . . . . . . . . . . . . . . . . . . . . . . . 193 Creating, Formatting, and Styling Text Layers. . . . . . . . . . . . . . Placing Text on a Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Applying Text Behaviors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Animating Text Using the Sequence Text Behavior. . . . . . . . . . Animating Text on a Path . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
x Contents Lesson 10 Keying and Compositing . . . . . . . . . . . . . . . . . . . . 295 Stabilizing a Clip. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a Match Move . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Keying in Automatic Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Refining the Matte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Creating a Garbage Mask. . . . . . . . . . . . . . . . . . . . . .
Contents xi An Introduction to 3D Lesson 13 Building a 3D Scene . . . . . . . . . . . . . . . . . . . . . . . . 409 Making 3D Transformations in the Canvas. . . . . . . . . . . . . . . . Converting 2D Groups to 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . Adding and Working with Cameras. . . . . . . . . . . . . . . . . . . . . . Arranging and Modifying Groups and Layers in 3D Space. . . Rasterizing Groups. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lesson Review. .
Getting Started Welcome to the official Apple Pro Training course for Motion 5, a behavior-driven motion graphics application that allows you to create stunning visual effects for a wide variety of projects. This book is a comprehensive guide to designing with Motion. It covers the use of behaviors, keyframes, particle dynamics, text, audio, keying, painting, tracking, creating effects for Final Cut Pro X, and working in 3D.
xiv Getting Started The Methodology This book takes a hands-on approach to learning the software. It’s divided into projects that methodically introduce the interface elements and ways of working with them, building progressively until you can comfortably grasp the entire application and its standard workflows. Each lesson in this book is self-contained, so you can jump to any lesson at any time.
Some Terminology xv paint strokes are used to create animated content. Lesson 6 covers text styling and animation. Lesson 7 examines particle emitters and replicators, and Lesson 8 covers multiple ways to work with audio. Lessons 9–10: Visual Effects Design This section explores visual effects design. In Lesson 9, you create speed changes; in Lesson 10, you explore stabilizing, tracking, and keying while creating a visual effects shot.
xvi Getting Started System Requirements All systems are not created equal, and the more power you have in your hardware, the more you can do in real time (that is, without rendering) in Motion. Here’s a brief explanation of how Motion leverages your hardware. If you’re thinking of upgrading your system to run Motion, it might help you to decide what configuration will give you the best results. The following sections are a little technical, so if you start to lose track, don’t panic.
System Requirements xvii Each frame of 8-bit NTSC video contains 720 pixels horizontally and 486 pixels vertically (480 for DV). When you add the memory required to store every one of those pixels in the computer’s memory, it works out to about 1.3 MB (including an alpha channel). A full raster 8-bit 1920 x 1080 HD video requires about 8.3 MB for each frame.
xviii Getting Started In the NTSC example, each of the three layers of video takes up 1.3 MB of memory per frame. In theory, you need only 3.9 MB of VRAM to draw a frame; but in reality, overhead is created by other processes, and certain filters and effects will use VRAM over and above that used for the video layers. After a single frame is drawn, the VRAM is free to load the objects for the next frame.
Gestures xix want to place more objects on the screen with more filters and effects, you’ll need more VRAM. CPU speed determines how many complex behaviors and simulations can be applied to composite objects in real time. Processor speed has less impact on the number of layers that can be drawn to screen. The amount of available VRAM is more important for layers. Visit www.apple.com/finalcutpro/motion/specs/ for a current list of system requirements and supported hardware.
xx Getting Started Motion Gestures Unlike gestures performed on a Multi-Touch trackpad, Motion gestures are movements that you make using a pen and graphics tablet to address a larger variety of tasks, such as playback control, Timeline navigation, editing, and general command execution. To use gestures, you need a Wacom Intuos tablet connected to your computer, and you need to enable Handwriting Recognition in Mac OS X Ink preferences, which can be accessed through the Motion Gestures preferences pane.
Apple Pro Certification Program xxi 2 In the window that appears, navigate to Motion5_Book_Files > Media, and open the appropriate project folder. 3 Select the highlighted file and click Open. 4 Continue to connect files as necessary until the window closes. 5 Be sure to save the newly reconnected project file, or you will have to perform the reconnect operation the next time you open the project.
xxii Getting Started include three levels of certification; Motion currently only includes Level One certification. Certification exams do not require class attendance. Students who prefer to learn on their own or who already have the necessary skill set in the chosen application, may take an exam for a fee. Apple Certified Associate status validates entry-level skills in a specific application.
Resources xxiii For details on the Apple Training and Certification programs, please visit training.apple.com. Peachpit’s website—As Motion 5 is updated, Peachpit may choose to update lessons or post additional exercises as necessary on this book’s companion webpage. Please visit www.peachpit.com to register this book. To do this, click the Account Sign In link at the top of the page and follow the instructions to register the book.
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# 4 Lesson Files Media Time Goals Motion5_Book_Files > Lessons > Lesson_04 Motion5_Book_Files > Media > Stage Motion5_Book_Files > Media > Rockumentary This lesson takes approximately 60 minutes to complete.
Lesso n 4 Animating with Keyframes In the previous lesson, behaviors allowed you to create animation procedurally—you applied a behavior that contained a set of instructions for making the layer animate. Setting keyframes is a way to articulate an animation—that is, manually identify exactly what, when, and how you want to animate.
126 Animating with Keyframes In Motion, keyframes work much the same way: You are the senior artist, creating your composition and identifying the frames you want to establish as keyframes; and the computer acts as the junior artist, creating in-between frames of animation through a process called interpolation.
Recording Keyframes 127 Rotating the Cog1 layer clockwise turns the other cogs and opens the curtains. In the previous lesson, you animated the rotation of this layer using a Rate behavior and stopped the rotation with a Stop behavior. The result was a rather abrupt ending. Here, you’ll animate the rotation by recording keyframes. 3 Press Command-Z to undo the rotation, and at the bottom of the Canvas, click the Record button. The button turns red to let you know that recording is enabled.
128 Animating with Keyframes 5 In the timing display in the toolbar, type 5. (5 period) and then press Return (or Enter) to move the playhead to the frame at five seconds. This is the frame where you want the curtains to stop opening. I f the timing display is set to frames, you can move the playhead to 5 seconds by clicking the downward-facing arrow, and choosing Show Timecode. Then, type 5. (five period) to move the playhead to 5:00.
Recording Keyframes 129 perform this action, although sometimes you may not want a keyframe at the beginning of the layer. By default, when recording is enabled, any other changes you make to the Cog1 layer, such as adjusting its position or scale, will set keyframes for that parameter as well. Sometimes, you’ll want to make an overall adjustment to a parameter without setting a keyframe, yet you’d still like to add keyframes to a parameter you’ve already animated. 10 Double-click the Record button.
130 Animating with Keyframes You’ve now animated the Cog1 layer and the curtains linked to it using keyframes. But the resulting animation is very similar to the animation in the last lesson: The curtain movement still comes to an abrupt stop at 5:00. You can make the curtains slow to a smoother stop by using keyframe interpolation.
Changing Keyframe Interpolation 131 epending on your playhead location, the value for the Transform. D Rotation.Z parameter may differ from the preceding figure. NO TE P By default, the Keyframe Editor displays all animated parameters for selected layers or groups, as indicated by the presence of the word Animated in the Show Curve Set pop-up menu in the Keyframe Editor. Motion will include all “channels” for the parameter (for example, x, y, and z) even if not all the channels are animated.
132 Animating with Keyframes The curve starts out flat, gets steeper in the middle, and then flattens out at the end. The curtains now start opening slowly, speed up, and then slow to a smooth stop, creating more realistic animation. 4 Experiment with the other interpolation options. Constant maintains the keyframe value until the next keyframe, when the value changes instantaneously. Continuous is similar to Bezier in that it creates a smooth ramping into and out of keyframes.
Setting Keyframes Manually 133 6 Click the keyframe at 5:00 to select it, and then drag the Bezier handle to the left to make it longer and flatten out the curve coming into the keyframe. If you do not see a bezier handle extending from the keyframe when you select it, Command-drag left on the keyframe to create one. NO TE P Be careful not to pull the Bezier handle down, or the curve may dip below the keyframe value and the curtains will start to close again before opening fully.
134 Animating with Keyframes In this exercise, you’d like the curtains to stay closed for the first second. In other words, you want the rotation of the Cog1 layer to remain at 0 degrees from 0:00 to 1:00, and then start to change. So, let’s delete the current keyframe at 0:00 and create a new one at 1:00. NO TE P Deleting the first keyframe isn’t strictly necessary, but knowing how to do it is useful. 1 In the Keyframe Editor, select the keyframe at 0:00. Then press Delete to remove it.
Setting Keyframes Manually 135 5 If necessary, at the top right of the Keyframe Editor, click the “Fit Visible Curves in Window” button to see the full curve. 6 Play the project. The curtains stay closed for the first second, and then they animate open from 1:00 to 5:00. 7 You can adjust the Bezier handles on each keyframe to suit yourself. You can also add and adjust keyframes directly on a curve. 8 Double-click anywhere along the curve to add a keyframe.
136 Animating with Keyframes You’ve now explored the basics of creating keyframes by recording them or setting them manually for a single parameter on a single layer. Next, you’ll explore techniques for applying and adjusting the keyframes of multiple parameters on multiple layers. or more information on keyframe interpolation, refer to the Motion 5 Help F document available from the Help menu.
Using Keyframes on Multiple Parameters and Layers 137 fell away with continuous movement, these layers need to fall and then stop in a specific arrangement, which happens to be a great task for keyframes. This project does not include the opening sequence of falling dates and pictures, but starts with the title elements you will animate into position. NO TE P As with many motion graphics projects, it will be easiest to approach this task in reverse.
138 Animating with Keyframes a position keyframe for each layer, you can set a keyframe for multiple layers at the same time. 4 Shift-click the first and last layers in the Graphics Over group to select them all, press F1 to reveal the Properties Inspector, and open the Position parameter. The value fields for Position x, y, and z contain dashes because you have selected multiple layers, each with a different position value. But you can still set a keyframe for all of them at once.
Using Keyframes on Multiple Parameters and Layers 139 6 In the Layers list, click each layer individually in the Graphics Over group to select just that layer and examine its Position values. Each layer has a keyframe for Position Z. Now let’s create the same keyframes for the layers in the Graphics Under group, this time using a shortcut.
140 Animating with Keyframes ecause at least one keyframe has already been set for this parameter (but B none at the current playhead location), the gray diamond turns orange when you move the pointer over it. NO TE P Now that a keyframe is set at 0:00, when you change the Z-position of each layer at this frame, it will change only at this frame, and animate back to its final position by the next keyframe at 5:00.
Animating Layers and Groups with Keyframes 141 4 Continue to the layers in the Graphics Over group, selecting each layer in the group and changing its initial Position Z value to move it off the screen. When you are done, you should see nothing but the background image in the Canvas. 5 Play the project. The layers all move into position and come to a soft landing.
142 Animating with Keyframes The red motion paths in the Canvas are straight lines that indicate the path of travel. The orange keyframe curves in the Keyframe Editor indicate how the speed of each layer changes over time. They are curved because the default interpolation for the Position parameters is Bezier (most other parameters have a default interpolation of Linear).
Animating Layers and Groups with Keyframes 143 8 Select the Graphics and Stills group, and in the Properties pane, set a keyframe for the Rotation parameter of the group by clicking the gray diamond next to the Animation pop-up menu. 9 Move the playhead to the start of the project, set an initial keyframe for the rotation of the group, and then set the Rotation value to –90 degrees. Notice the straight sloped line for the Rotation parameter in the Keyframe Editor, indicating a linear interpolation.
144 Animating with Keyframes All the layers now rotate as they fall into position. However, they all come in at pretty much the same time, and land without much punch. You’ll now work in both the Keyframe Editor and the Timing pane to liven things up. Working with Multiple Keyframe Curves You’d like all the layers to suddenly snap into final position. Rather than adding keyframes to each layer’s Position Z property, you can achieve this effect using just one keyframe on the group.
Working with Multiple Keyframe Curves 145 7 In the Properties pane, from the Animation pop-up menu for Scale, choose Show in Keyframe Editor. Now just the curve for Scale appears. 8 In the Keyframe Editor, drag a selection rectangle to select the middle Scale X, Y, and Z keyframes that are stacked on top of each other, and then Control-click and choose Interpolation > Bezier from the shortcut menu. Then drag out the right Bezier handle to make a steeper curve up into the final keyframe.
146 Animating with Keyframes There are three reasons why it can be easier to change the timing of keyframes in the Timeline rather than the Keyframe Editor: You can see the relationships of keyframes applied to multiple layers. Each keyframe at a given frame is actually a “bundle,” representing all keyframes at that point in time for a group or layer, so it’s easy to select and move all of them. You can’t accidentally drag a keyframe up or down, which would change its value.
Animating Crop with Keyframes 147 The animation for this layer will now start a little later than the layer below it. 13 In the brayer_03b copy layer, move the first keyframe to the right a little bit more than the first keyframe in the brayer_03b layer. 14 Move the first keyframe for each of the layers in the Graphics Under group to a different point in time. When you reach the upper vellum layer, Shift-drag to snap it to the lower vellum layer.
148 Animating with Keyframes 3 In the Properties Inspector, select the Crop checkbox, and click the word Show to display the Crop parameters. Click the gray diamond next to the Animation pop-up menu for the Left and Right parameters to set keyframes. Once again, you are working backward, first locking the final crop values. Now you’ll back up in time and crop the layers. 4 Drag the playhead back to a point where the layers are still rotated, at about 4:00.
Animating Crop with Keyframes 149 The Show Curve Set pop-up menu also allows you to reveal keyframe curves for specific parameters—such as Position, Rotation, and Scale—of the selected layers. 8 In the Properties pane, from the Animation pop-up menu next to the Crop Left parameter, choose Show in Keyframe Editor. 9 Do the same for the Crop Right parameter. Now only those two keyframe curves appear in the Keyframe Editor.
150 Animating with Keyframes 12 Drag a selection rectangle around the starting set of keyframes that are stacked on top of each other to select them all and use the Bezier handles to adjust the curves to your liking. Repeat this action for the ending keyframes. 13 Save your work. You now have a good understanding of recording keyframes and setting them manually, changing interpolation and adjusting Bezier curves, and adding and adjusting multiple keyframes at the same time. Lesson Review 1.
Lesson Review 151 Answers 1. The Record button turns red, and all keyframeable value fields in the Inspector turn red. 2. All keyframeable parameters will be keyframed by default if you change their values with recording enabled. You can change the recording options by double-clicking the Record button and selecting the checkbox to record keyframes on animated parameters only. 3. To animate with keyframes, you need to have at least two keyframes with different values. 4.
152 Animating with Keyframes Keyboard Shortcuts A Toggle recording on and off Control-K Add a keyframe for the last animated property Command-8 Open the Keyframe Editor Shift-K Move to the next keyframe Option-K Move to the previous keyframe
Index Symbols and Numbers ‘ (apostrophe key), toggle safe zones display, 196, 205, 219 / (slash) key, play selected item in Timeline, 373 2D groups convert to 3D groups, 415–422 convert to 3D groups by adding camera, 422–427 mixing with 3D groups in project, 437–439 rasterizing, 439–441 2D/3D icon, 419 3D advanced features.
484 Index Adjust 3D Transform tool (Q) animate camera with behaviors, 455 create animation with behaviors, 120 make 3D transformations in Canvas, 412–414 mix 2D and 3D groups, 438 move groups in 3D space, 428 work with camera’s depth of field, 458 Adjust Around pop-up menu, HUD, 416–417 Adjust Item tool, 244–245 Advanced parameters, Keyer filter, 312 Advanced tab, Export Movie, 39–40 After Export pop-up menu, Export Movie, 38–39 Airbrush, paint strokes, 178–180 alpha channels build composite, 48, 50 impo
Index 485 create with generators, 159–167 customize explosion particle effect, 322–326 distinguish from foreground with drop shadow, 19 import audio, 258–259 make text stand out with Library content, 29 match foreground color to, 318–321 Match Move one shot to another, 301–305 stabilize shots, 297–301 stylize with filters, 15–16 use replicators to create design for, 243–250 work with paint strokes, 180 work with particle emitters, 222, 235, 243–250, 253 Background pop-up menu, 48 Background Task List win
486 Index cameras, advanced 3D features depth of field, 457–459 export, 462–463 overview of, 457 turn on reflections, 460 use lights and shadows, 460–462 cameras, animating add to 3D environment, 422–427 arrange groups in 3D space, 428–432 finesse behaviors, 453–456 with Framing behavior, 446–450 mixing 2D with 3D groups in project, 437–439 modify layers in 3D space, 432–345 with Sweep behavior, 450–452 Canvas in 3D mode, 422 change zoom level (Command-Spacebardrag left), 100–101, 106 change zoom level (
Index 487 Command-N (open new Motion project), 345, 392–396 Command-O (open Project Library in Final Cut Pro), 333, 363 Command-Option-I (set play range In point), 123 Command-Option-Left Arrow (move playhead to previous marker), 276 Command-Option-M (edit marker), 276 Command-Option-O (set play range Out point), 123 Command-Option-Right Arrow (move playhead to next marker), 276 Command-S (Save project), 43 Command-Shift-’ (apostrophe), toggle 3D grid, 456, 464 Command-Shift-[ (left bracket), bring selec
488 Index E E key (create particle emitter), 255 Earth Transparent element, 163–168 Ease In Time parameter, 290 Ease Out Time parameter, 290 eased keyframes, create speed ramps, 288 Edges tool, 309–310 edit to beat of audio track, 265–266 gradients, 159 with image sequences, 70–73 in Timeline, 73–77 Edit Marker in Audio Timeline, 264 Build In and Build Out markers, 354–355 Command-Option-M keyboard shortcut, 264 Edit Position tool, 343 Effect Source placeholder, Final Cut effect, 392–396 effects animatio
Index 489 use Build In and Build Out markers, 353–357 work with effects presets, 334–339 Fix Video checkbox, Keyer, 312 fixed resolution, vector files, 173–174 Fn key, for function keys, 33–34 Fn-Left Arrow (move playhead to start of project), 194 focus (Control-F), 457–459 Focus behavior, and depth of field, 459 Font pop-up menu, 21, 195 fonts choose for text entry, 195 modify preset effects, 341–342 text-entry mode, 194 foreground create garbage mask, 316–318 customize explosion particle effect, 322–32
490 Index image masks 3D transformations in Canvas, 411 import vector graphics, 174–175 modify layers in 3D space, 434–436 Smart Motion Template animation, 352 work with, 167–171 image sequences add cells to particle emitter, 236–238 create particle emitters, 222–229 edit with, 70–73 import audio, 258–261 build composites, 50, 56–57, 81–84 image sequences, 72 scale media to maximum pixel dimensions before, 223 vector graphics, 171–176 video clips, 6–9 Import All Layers, composites, 57 Import Merged Layer
Index 491 keyframe curves change interpolation, 131 work with multiple, 144–147 Keyframe Editor (Command-8) animate crop with keyframes, 148–150 animate layers and groups with keyframes, 141–144 automate level and panning changes, 262 change keyframe interpolation, 130–133 create speed ramps, 286–288 locate in workspace, 6 modify animated content, 165–167 set keyframes manually, 134–136 work with multiple keyframe curves, 144–147 keyframes animate crop, 147–150 animate layers and groups, 140–144 animate
492 Index letters adjust kerning in, 198 modify single character, 201–205 level adjust imported audio in Audio list, 260 adjust in Audio Timeline, 261–264 automate changes with keyframes, 262 Levels control, Matte tools, 313–314 Levels filter color correct shot, 318–321 customize explosion particle effect, 325 stabilize shots, 297 Library (Command-2) Behaviors category in.
Index 493 use function keys, 33–37 use Library content, 29–30 Motion-Blur Blending, 282 .
494 Index Pan tool, 3D View animate camera with behaviors, 446, 454 arrange groups in 3D space, 428, 432 manipulate camera in 3D space, 424, 426–427 Parameter behaviors animate cameras with, 447 apply, 110–115 combine behaviors, 117–121 Parameter folder, Library, 111–115 parameters publish Smart Motion Template, 357–361 rig pop-up widget, 381–383 rig slider widget, 396–399 rig to widgets, 368–370 Particle Cell pane, 238 particle emitters add cells, 236–238 adjust in Inspector, 229–236 create (E), 256 cus
Index 495 edit in Timeline, 73 import audio, 259 import projects, 84 import vector graphics, 173 keyframing multiple layers, 136 Layers list in.
496 Index Remap White To parameter, 358–360 render export advanced 3D features, 462–463 output project, 37–41 title to play real time, 356 Render pop-up menu disable Depth of Field in, 460 export advanced 3D features, 462 Motion Blur located in, 282 work with depth of field, 457–459 Render tab, Duration pop-up menu, 39 Repeat function, 166 Replicator tool (L key), 244, 252, 255 replicators defined, 221–222 keyboard shortcuts, 255 modify presets, 250–253 particle emitters vs.
Index 497 to maximum pixel dimensions before importing, 223 multiple keyframe curves, 144–147 particle emitters, 231–232 replicate elements, 246, 248 replicator presets, 253 show percentage of, 12 Smart Motion Templates, 352–353 track layer, 302 underlying graphics for composite, 68–69 Scale At Birth parameter, 231–232 Scale At Death parameter, 231 Scale Over Life parameter, 232 scale percentage display, Canvas, 12 Scale Randomness, particle systems, 234 Search button, Library pane, 163 Search Size value
498 Index shutter angle, add motion blur, 217 Simulation behaviors, 104–110 size, particle emitters, 230 skimming, apply preset effects, 336 slider widget, rig, 396–399 Sliders tab, create background with generators, 162 sliders, apply Audio parameter behavior, 272 slow motion appearance, 281 Smart Motion Templates, publish for Final Cut Pro X complete animation, 350–353 create, 345–350 keyboard shortcuts, 363 modify effect presets, 339–345 overview of, 331–332 publish parameters, 357–361 review Q & A, 3
Index 499 Timecode import audio, 258 replicate elements, 243 switch between frame displays vs.
500 Index publish widgets, 400–404 rig checkbox widget, 367–369 rig pop-up widget, 380–384 rig slider widget, 397–399 widgets create Final Cut effect, 392–396 deconstruct transition project, 374–379 defined, 365 keyboard shortcuts, 406 modify preset effects, 340–345 modify, test, and publish, 371–374 publish Final Cut generators, 404–405 publish parameters and, 400–404 review Q & A, 405–406 rig checkbox, 366–371 rig pop-up widget, 379–384 rig slider, 396–399 use Link parameter behavior, 384–392 windowin
