Going Further With Apple Motion 5

1. Introduction : Hello and welcome. My name is James because I'm a certified Apple trainer in motion five. In this course, we'll be looking at taking our motion five skills to the next level. This course is for people who have already taken my previous course, getting started in motion five, or anybody that feels comfortable in the motion of five interface. We'll be learning how to use all your behaviors. Looking at green-screen, building a moving 3D map, creating an advert for a fictitious boots company, use replicator behavior towards create stunning graphics simply and easily. We will end with creating your own 3D art gallery where you can insert your own photographs to show off to your friends and colleagues. There's a lot to learn here and I really feel we're going to take your skills to the next level in animation and designs. So what are you waiting for? Let's get started. 2. Audio Behaviours : Hello and welcome to same behaviors inside of motion five. So today we're going to do something in motion, which is a really, really cool. So here's the project that I've already created. So if I press Play. So what's cool here is, is we've got a custom graphic equalizer that's using something called the science of behavior or audio behavior inside of motion five. And what's happening is you see each of these elements are bouncing the track. This is the green tracker handy underneath here, automatically, which is pretty incredible. I've not seen many people use this, if any, unable to my shows, to people that kinda of like wowed and how easy it is to do. So let's have a look at how are we going to create this or how we would think we would normally try and create a graphic equalizer badging or C. It's pretty cool. We got a few filters on here as well. And basically we've taken one element here and we duplicated a few times two. So let's go ahead and start to build this graphic equalizer using sand behaviors emotion 5. So here we are inside of motion and as always, we're gonna choose Motion project here. We've got broadcasts HD 720 because let's use this when I'm training people because it's quick and easy, but obviously, make sure that you just pick the one that you'll be using for your final project. Frame rate is just choose 25 frames a second. That's absolutely fine. Duration 20 seconds, that's cool as well. And let's go ahead and press Open. Great, So here we are inside of our motion interface. Let's make it nice and big so you can see it. It goes green button there. So here's our Canvas guides. We've been here before. And what you do is show you how we kind of do this kind of free hand if you like. The first one do is press impulse. In our sessions one folder, we will find a sample track if I press Play button. So let's just bring this in and press imports. They see when a bought in there, this green line lights up. If that hasn't met up in yours is because this little icon here isn't switched on. So that's a good idea to give it a click and open and I listened all the way. Just hide sold interface. If I click off this, this one interface, I get. So there's audio timeline next, which tends to be the sea are some traits for the Play button. So you've got a nice bit of base which kicks in here, which is going to help us with our audio. So normally, when we talk about creating any, any animation inside of motion, we'd have to kinda come into a shape here. Hey, here's my shape. Press Escape to say I've finished with it. Okay, so there's my shape. And then why else do is try and make this grow in time with the music and this is gonna be extremely hard. I had to go into the word library properties and we've got scale here. So if I just scale on the y, see it sort of grows up and down. So I guess I could kind of do that if I wanted to. But it would mean quite literally pressing a key frame here, moving a little thing that it's par keyframe window. Once we see that first one there, there it is. Now, I'd increase this keyframe at this point, so let's make it higher, okay, and then go dance next one. And it's taking it back down. Coal and so on and so forth. Thank you. Imagine how awful this would base us have a look watch. Okay. A is not your time and be this word quiet lychee, take ages to create this. So let's delete that. So it's like motion. The semicolon, the same behavior or audio behavior was forget what the cooler. But we'll have full find it in a second. So what we'll do is go to our T for text button here, stuff with you'll see in sorry, if I keep my finger held down, it's called a three texas. Give it a click. Okay. As you see, nothing happens as always sort of Canvas, we look click on here to start something. So give it a one-click. And I hold on to Shift key and press OK. It's like as a capital I wanted to, that's quite small as you can see them on the screen there. So I'll press Escape to set finished. Okay, there's, the ice is so small we can't see it. So with eyes selected in our properties here you got the width scale. We scale up and we can actually grab the older. So we can now see that either, okay, Cool. Now what we need to do because it will see important or audio track already, is if I press Play nameless is going to happen. Just the audio there. And this is going to react initially. So I've got to tell this I, to start pulsing up and down. So Hamlin do that. Well, let's go over to our scale. So scales here under properties as its scale. Now under scale you can see we can change on the x and the y and the z. So what the, why is really unusual because there's no buttons. Citizen, nothing has this little keyframe button here, but there's nothing else here. Tell us we can do anything. But if I hold down the Control button and press Y, so let's just do that again. So I'm holding control. So teeth, CTRL and the holdup Dan and with my left curse my left button on the trackpad on my yeah, my mouse here. I'll click on that. Why? And what's going to happen is I'm gonna get a contextual menu, okay, so I've let go of control now. And you see suddenly I've got all of these little things I can play with. So I called up to rig at Perimeter behavior. Okay. So it is an audio behavior. Okay. I said Sam behavior, but fine, It's called an audio behavior. So I'm going to press audio. Okay, And suddenly what happens is my interface is moved from properties to the word behavior. And under my eye we see the word audio. Okay, So nothing else has changed. That's all that's happened so far. So this is really, really where it gets quite interesting. So it says here, source audio is none. Now remember I pre-loaded to this already in. So under this the word too. I can press the sample track. Okay, now I see it's got master here. Well, we might have more than one piece of music. We only want to make it apply to this. This is what I'm going to show you to pick on the sample trend that's the name of that track. So they go, That's a track on there. So what's going to happen now? And if I press Play? Cool is starting to react automatically, means it's less. Click off the eyes come in here and click down here. So you can see it there, nice and clean air. So if I come back, we can now see that automatically that started to react to the audio, which is pretty awesome. The noche frame involved, it's done it automatically. So let's have a look at this menu little bit more. So it says respond temperature, which is fine. So I do want to do that box. You've got some called transients here. We'll say graph arranged this way it becomes quite interesting because if I click on here, it says respond to all frequencies, but here, and this is the magic guys. We've got bass and treble, and this is how we can perform that whole graphic equalizer thing. So if I click on the word, let's say base, okay, now it does a little, a little think they're independent on this video computer and how long the track is. It might take a second for that to load him, but that was very quick. This track is probably 20 seconds long. It's not very long at all. So let's press rewind and play down here. Okay, so now it was bobbing up and down nicely to that base. But what if it isn't performing as good as I want it to? Or very graphically it's, it's okay, it's responding to that. Okay? But what we can do is change something called the kind of the amplitude or this, or the scale of this. So down here, I've got frequencies which we can play with inside here. But I really want to go to the width scale. C is set to one here. So I can increase this, okay? And I can click on here as well and just type in 2.5, press Enter. Let's have a little look at now. So it's responding really, really nicely now to that piece of audio. So what we've done is we've taken the fat that is obviously looking naval base here. And by changing the scale is kind of if you're amplifying that undefined, that volume, which I quite like that pretty cool. So there you go. That's our first graphic equalizer. Now at this point, I like to sort of colorize this in and make it look pretty cold. Fight, go ahead and start cheap casing it. So let's become the eye in the group here. Let's go to text and inside here, under appearance, you see I've got the fact it's got this, these colors associated with it. So in this case it's just a very plain and boring gray. So if I click on here, you'll see now that I can go in here and I've got the whole spectrum of colors, CMYK in here. And some very, very simple cause I can click Save, click on one of these. You'll see it changes straight away, which is what we'd expect. Here's a little tip here, more to share with you. If I click something, random class, this is of see a few different ones in here. If I pick this exact color and I want to use it again, There's no way I'm going to find that. You'll see here in the color palette. It's, it's kinda of here. Yeah, if I click and hold and drag it, I've now added it to my palette of colors. So every time I open up motion at that will be available. And if C were using a Mac here, if you've ever used something called pages, numbers or keynotes, you also have access to this kind of tablet colors in those applications as well. So it's a cool way of making sure we pick on the right color every time chose this kind of a blue tint. Now, if I go here and pick a red using a pick that up and drop it. So the next one as well. So let's click and hold and drag ever so we can create our own kind of cool palette of colors. So that's that done. So yet, happy with that. I don't really want that color, so that's before. So click on this box here. Let's click on that lovely blue. And as you see, it's remembered it from before. And that's when I want it to be. Lovely. I hope you didn't get bored this trunk. Okay, so there is our first sort of graphic, egoless done. Now one thing we can do, which is quite cool, Give it a bit a substance before we start replicating this is go over to filters. And inside here we've got something called globe. Okay, so this is cool, is like Photoshop and Santa here. And inside you've got the word light race. If I click on Light race, straightaway, It's given us this kind of yeah, like it's admitting its own lights. Now he's got the word mind while to get that cool, right? Let's see. It's kinda reaching out and it goes to 208. So we'll go to 200. Okay. As much as we can go and hey, we should count only hire is just that. I still think it's appeared here why she changed the direction of it, which is pretty cool. This case, we leave it there. And what we can do is we can make it move from 1 to another. Okay? So you've seen i've, I press Play. Now actually we don't want to hear the audio track anymore, so just uncheck that. So we don't want to hear that every time I press Play. There we go through start stat animation, all its own. Great love that, right? Okay, so let's look at the glucose again, free sequelae, which is quite nice. I love light rays, it brings up for a live is pretty cool. Again, it doesn't have to be Saigon and bless us, keep it to 100 less by that light, quite bright. Okay, So that's cool. So the center here, X to the Y, you'll see now we can move this from 1 to the other. So what I want to do guys, is we're hearing the middle on a keyframe miss to move from 1 to the other. So you see the length of my project here. So this is five 500 frames, which doesn't mean a lot. But if I hit this little arrow here, we'll press Show at time code. And we'll see it's 19.5 seconds in total, which is about rises by 20 seconds. So I'm gonna do is I'm going to get this light ray to move from left to right for the whole thing. And stuff like that. To nought 0.5, they get. So that's where we are with that. So we're going to press the keyframe button there. So it just says at that point, make sure you stay there. Now as the song goes through. And it takes to automatically now go to the far right, like that. Okay, so it's altered. Remember that's ever press rewind and press Play. You see that light ray is going to move all the way through that. Now you see I can see my keyframe here. And here. That's because I've got our little keyframe, which do you think open up here, I can drag that down, perfect on that. So salt moves quicker. Want I can drag this I of S. Let's press pause there. I can drag that over, drag it. Eveleigh that, and we'll see I'll do it a lot quicker. Okay. Which is fine. But I wanna make sure you just lost the entirety of the clip. Great. So that's, that's kind of the hard work done guys. That's the start of our graphic equalizer. So that all makes sense. So we finished with that. So let's go back to the eye. The simple eye here. And all we're going to do now is take this i, we're going to move them over a little bit. Okay, it's back there. Okay. Now, remember if I go to the web audio, we see we've got the width base here, which is perfect. So what I can do now is take this, I hold down the Command key, or the Command key or the Apple sign and press D. Okay, so what I've done is it's taken that first element and enabled us to duplicate it. Okay, so it's got the word I copy. If I drag this to the right, you'll see now, Perfect. Let got two copies, right? So I'm gonna do is move that over to here, something like that. Okay, now we're gonna do is I'm going to change the way it's reacting. Just remember that the first one I've got an audio, It's affecting the base. So go to the second copy. That's the one we've just done. The geolocation under the word audio is set to base so I can add changes to the mid-range. Now what it does though, it does a little flick them are computers, the late MacBook Pro 15. So it's measured at quite quickly. If you've got a long piece of music in here, it might take a second for it to change and work out what the mid ranges of that sum. So don't worry about that. We'll leave it as it is. Okay, I split File, Save again, says press, you want to press Play. So now it should be a slight difference between the base and the midbrain. Just a slight difference. Okay. Coat. So audio base, Audi on our second copy is set to MIT. So guess what? Come to here. Press Command D. It's got the word one, copy one. So what might be good idea is to start naming these exactly what the air. So the way we can do now is press, double-click that slant and choose base. Okay? Double-click this one. Okay? And then to look at this one and make this treble, I think it was, which I think it s, it's treble. So I've not done that yet, but we'd have to call here, drag that over. Okay, Let's go and click on the audio and a mess, it's set to mid. And we want this to be treble, which is there, that one's eighth. Cool little flick that it does that for us automatically. Let's hit rewind. Let's press play. So now we have three things moving slightly different from each other. And is our graphic equalizer says, put this audio back. Let's put the audio back home. Click on that, press play. Now what I have here is the fat that we can start to bunch all this up. So if I drag that over here, okay, it's at the triple. Try that over there. Okay, cool. So you start to see that they're going to pulse like this. So all of this has been done inside the word group. So I can name this group g, f, x graphic. Okay? Now without having to do too much worthless go File and Save again, I can take the whole folder, that whole group that all these base mid-range and traveler in. Press Command D again. And I move that over. They go commissioned work with solar cells. Since the copy one, press Command D again. There it is there again. And Command D again. And see you just put my cursor near clicking, holding and dragging item. So what we end up having is this really cool? And that's hired to build a graphic equalizer. Really simply. I'm using the letter I with some 3D text and holding down Control. So let's go back to where we were. Let's look at this here. So I went to properties on this eye. And under the scale, we held down the control key on the y. Here we go. Hold down the Control key and the Y. And it gave us this really funky many we've not seen before. We add primitive behavior and then click on Audio. And we've got all this crazy stuff in here by presence, humbled train. So there you go. There's our first crack of a user equalizer. Now of course, if want to export this, we're gonna get to the which share export movie. This can look at all our data inside here. Open Quicktime. Remember to include video and audio. If you just do audio, video or any products will choose this. In this case, we have whole thing. We can leave the rest as it is. Press Next. And this put it on the desktop plus 17. Look, there we go. And save that. So again, it's crushed. The audio together with this graphics and crisis, all n film which will have C, uses a intro for something else, YouTube channel or web project that you're working on. So once that's finished, Let's just minimize that. You only set my QuickTime project has opened up, so if you double-click on it, this is what you get. So that's working beautifully inside of their love that and that little LED light race that he makes that shine beautifully. So they go audio behaviors inside of motion five. 3. Creating Graphics with a Green Screen: Hello and welcome back to you. Going further in motion 5. In this section we're looking at green screen. I thought I had jazz it up and create a bit of a graphic because actually green screens quite easy, but what can we do it once we green-screen something? So I create this little graphic here. So we see here is a gentleman who's been already filmed against a green background. And we've used these kind of 3D boxes to show that it looks like he's dancing in them. Okay, so this green screen will see is, you know, anytime a green-screen that you've got, we can take that straight. I think it's what you can do with it once you've actually done that, which is important as well. So let's have a look at this and we're going to build this today. So let's get rid of that. So as always, let's open up motion. Here's our interface, broadcast 720 because that's what I'm going to be doing. But obviously as always, thank you for k, we need to make that for 20 seconds. That's probably be enough, but that's just me, that 30. So click in the box central Diana, but tough too much. And then two little. Let's press open. So once again, motion the face so we need to start off with, we need to press the input key, make sure our play head is here at the star. So press Import. Again in our sessions guide here under sessions to you just see a piece of footage called green dot mp3. We're going to press Import there, just like that. Okay, so this is a bit of footage I grabbed. And inside here, this some audio attached this, but we don't want that to place. Let's make sure that's unchecked from the Audio tab. Let me go back to our layers. So there's our group and it's called green-screen. And what we do here is we're going to crop this before we start. So I don't need these to get out of it. If I press play here, you'll see they're going to warm you up, getting ready to wear creates dance routine like so. Okay, so what we don't want to do is have these other two characters and it was going to concentrate on our central character. So let's bring up the play heads at the start. With this selected, come over to inspector and the properties. What we can do is just crop this image down. So let's do that straight away. Underwear crop, give it a tick. Nothing happens because we'll go to the wedge show. And here on the left, we could track this and I anergy see as I drag that in, it stops it to you under so we can occur so in here and take that straight up my that perfects our rights as a same. Subtract your oyster the right still of it showing. So let's click and drag upwards. So I'm clicking, holding and dragging it up with that looks about right. That's took a bit off the bottom is just a tendency but nothing too crazy. And a bit of soap. That's it. Okay. So we've kind of, if you like solo, do celebrate him to there. Now we'll have a look at him and he starts dance in. Kind of she's getting ready, warmed up there. So he starts about there. So let's go just to buy their case pause. So it's about three seconds in I want to do is press I and I just basically takes. That video to the play head there. If that doesn't happen, you can just press commands that and obviously that's a number m. I put my cursor on the edge of the click and just grant and just drag that to that point there. Okay, So int star, so it's, there's two ways of doing that. If you've got, I just quits there. So with that done, just drag our counter to start. Magic there is he's got started formula. See how much we've got him doing that. Yes. So it's sort of it's a full length for 29 seconds, which is fine. So here comes. The clever part really is we've now got a green screen him out. The show notes. It's very simple emotions do this is just what we do then once we've finished. So let's jump up into the filters. Now, seize Holland is still an unfiltered. You said the word king. Okay. And inside a here is the word CLEA. Okay. Simple as that night as you see, it's snapped him out of that straight away. It's notices that there's a a green area and it's just one yet we'll take him straight a, which I think is pretty cool as this took. No work. We'd take you may not see software gets better all the time. It's good at recognizing that. So what I want do is just, I'll just go a little bit closer to our counter. So if you use this command up here, otherwise we can press Command Minus or Command Plus, Command minus 1 plus n. And I can see is kinda, it's done an okay job. We've got a bit of an outline on the counter here. So normally, if that didn't happen, if that key hadn't worked, use this sample color button here. If I click on there, I could just click and drag. And you'll see what it does is it looks all that color samples. Then it says, okay, we could take the name. You see again, I've got caught a fast computer here and you'll shouldn't be too bad at home. That should also do it. So we've sampled that color and I commands that will take that back. There's a button here called edges. So the sample color normally would just say, you know, where the green area was. If it didn't snap out, we click and drag and it will sample that green air that surrounds it before. But because it could be, it's done automatically. We haven't had to stun pull a color, but that's what this therefore, now got the word edges here base what this means is it's just going to soften the edge of that key if you like. Now with edges done, Let's click on his shoulder that and try again. Okay, now what you see here, it's a little thing he's going to show us how much. So you see now there's the edge, him. But if I pull it in, starts to encroach slightly on the edge of that mass. So basically just softens the area. And the idea is that this point here is looking at that color and able to pull out and look, see how much stronger is there. So a really good idea if you got like hair and you want to sort of go around that mask with our heads is very much automated but really easily done. And that's it guys. That's as good as we're going to get here without having to mask off individual parts of the of the clip. So Command Minus will just snap back. So there is our character. And again. That's how simple it is to take some green screen out. So there is these almost out. Now what I'm gonna do is create this box the kind of sits in. Now to do that. We're going to we've got him there in there. Okay. He's inside of this group. So I call this the Dan saying, Man, Okay, There he is. That's your mouth. I'm not going to go to add a group. Okay? I had a group. Okay. And we'll call this 3D room. 3d. 3d room there. Yeah. Okay. So there is that, that that's a man and there's our 3D ramp. So with our group selected, we're gonna go to Basic. We've got trait, this kind of 3D environment of instincts as Moses, just 2D. There's no 3D controls that pay us to do this. We're gonna go add objects, and we're going to add a camera. So by doing this camera, we may since before it says switch to 3D, which is what we want to do, says our 3D. So now we can see all my controls here that's going to allow me to rotate. So C is two, D. Now if I double-click on this button here, Any, any of these, it'll center. You'll send to my counter. So if I rotate it again, click and hold and drag. If I double-click on one of these sensors, the counter back radius to be. So guys, thank all of our 3D room group that we've already created. We're gonna go to our rectangle tool. Okay, we just say if I click and hold, you'll see I've got all these tools in here, but I want a rectangle. My play head is at the star, which gets very important. Now almost that we do is click and hold and drag and let go. Okay, So that's created a, a square vector graphic there. Now if I press the escape key, okay, that tells me my finished with it. Now, I'm going to talk that the word rectangle and call that floor. Okay. Soft floor doesn't look a flaw because we can't see what's going on as a guide me on the back of there. So what I need to do is take this rectangle and start to rotate in 3D space. So we're going to use this little 3D Compass here. And when I click on this, we get these three little circles. Each one. If I hover over it, this one, I'll just do rotate like that. Okay, Come on. Said undo this one. I rotate it like that. And this one is the one I want. So I'm gonna click and hold. If I hold down the Shift key, it'll snap into where I want it to be. Now if want to get it bang on, what I can do is go to properties here. And under sort of rotation here, you'll see it's 90.8. Okay, so if I double-click that good idea to know where these things are, type in 90 and that makes sure that that is definitely flat. Okay, so it can rotate up here and have a look there is not want to do is use that little blue arrow, which tells me if I drag that down, That's somebody's feet right? Standing in my thick now, good idea. As always, is File Save. I'd say, ma'am. Okay, rooms clutching media. Because we bought all these elements. Syllable what the green-screen anyway, you want to make sure I copied correctly, safe. They go and will save us we go. So remember double-click one of these reasons, the camera, there it is. So there is my flaw in my 3D room here. We can also lock these down as well, stop us accidentally playing with these. So with that flawed highlighted in blue, command D, It's one of my favorite buttons, command D. And then I'll just duplicate that for me. And what I wanna do is I want to rotate this fall to create this new wall here. Now you'll see there's my little circles gets it was hiding. It's just hits left. So if I click and hold and drag, I can hold Shift it should click into what I want it to be. Now again, I get it roughly where I want it to be, then that looks about right. If I go to properties and that shape, I can look at their rotation. Okay? See here it's minus four, so which was 0? They get 0 space. My blue arrow. Click. And that's really important to make sure that when we hover these, they turn the color to the sort of yellow color here. So if I zoom in here, He's my mouse wheel to scroll down there. You'll see it's Red Sea and it turns yellow when I hover over them. So it's really important. So not grab it because I was, if we grab it and we start to move this in sort of 3D space and we lose where it is. So make sure that we've got our cursor highlighted and drag up. Cool, there we go. That looks about right. Okay, so let's set up our tool click in here and drag out. This way we can really start to use these. These arrows are stratus in the face tanks. Study that at the moment as we start to use these, because you see it started to show us where we are within this 3D will that we just created. So again, just click on that blue arrow and just drag the night. Okay, it's pretty cool. Yeah, it looks might say students by no problem. We can change it a bit later on. So there is our wall. Now as I look at it, it's my left wall. So double-click that and do that. Command and D. Okay, and then that's going to create our new white wall. So Command D to duplicate. So I can now grab that blue one there and drag that over. There we go. So I'm going to call this double-click it. Right wall. Suddenly done. So I'm not, look, it's somewhere, right? That's takes flocks. I don't need to replicate it or don't need to try and reach all this rectangle. Command and D, the floor. You'll set this floor copy. I'm going to make this ceiling. And now with that blue area, this is tricky to see this, so don't be scared to use these 3D controls to help us. Okay, click and hold and drag up magic like that. Okay. What you see in the scope a little bit more. Okay, and File and Save. Now all the settings for all of these are under Properties. You can send the properties we got the position of where they are actually in 3D space. And then the rotation of what the actual angle is a rotation. So you could get absolutely bang on if you so wish. Okay, so there's my box which is looking pretty good now. Now what I want do is take my seating. Oh come on, David, salt and command and press D. And then we're coalesce back wall. So double-click on that. So my shots that so that's now a back wall. So if I drag it down, and then I'm looking at this little circle here, C. Then I'll click and hold. Go to my properties again. Look at my rotation. I guess that needs to be 180, which it does. That's the angle of actually make sure it's looking. Really important is cause I can't stress this enough. Make sure that's right. Okay. Much it you see, I'm just trying to now level this up perfectly. What I want. Okay. Lovely. Not too bad, not too shabby. It's kind of that. Okay, so there is my 3D room, they're done. We go, I'll see idea of creating these groups is that we don't accidentally delete something we don't need, okay? We want all of the stuff and having groups makes it easiest for us to move between them. Good time to save now, save that. Lovely. Okay, so there's my character looking pretty good. Let's press Play and we still inside, they're doing what needs to do fades. Now again, a bit of realism here. What we do is bring in a new light. So add objects and you'll see the word light. Cool. Now we starts to come alive for us. The light she sits outside of the group such as like with us, with the cameras while they are always sad scientific group. So there's Unlike there, I can track this. Okay? You see how that's a factor that brilliantly. So it's here, you see it's not reflecting on this white wall there. But if I bring it in, okay, cool. Now, again, I want to make it a bit more realistic if you like. So if I drank that light here. Okay. And go to Properties, sorry, what would he unlike the US, perfect. We'll see the word shadow isn't checkbox, but if I check box it, boom, there you go. And you gotta which show here? And it says How gets us all the actuaries for the actual light. So if I drag it here. Okay. Now if I wrote him a box again, we see how close the light is to him. If I drag that out, you see how in real time this is why motion is a great little tool, is the fact that it reacts instantly. I don't have to render this out. It's kind of reacting straight away. Let's go back to here. Click on the light. And so you see softness, opacity. So how dark is that, Chavez? That's me that right away, Mr. Emil, time we've got that's really good. So I used that blue arrow to go closer to or further away. And then from each of those things you'll see there will change that that light properties quite significantly. So I'm gonna leave it about their quality that, okay, Now, opacity, so how dark is that shadow? So obviously not all shows that. That dark E flat, so I can choose to do that. And a bit softness to the edges of that, which is quite nice. So I'm happy with the softness That's, and the opacity. So there's an opacity there. Okay, So that looks pretty good. So if I double-click on Malays, recent as my camera, roll that back a little bit, come up hill at that and then press play. So you see now the, It's so cool, I love this, the fact that the shadow is reacting perfectly to our counter there. Okay, cool. So I'm really happy with that. Now, all you do to finish this tutorial, if you'd like, It's just colorize this light. So the light highlights it. Got the word column number. If I click on here, our little color wheel or P here, and you'll notice that it's dark color from lesson one that we had AS we can link all our colors together if we say wanted to. But in this case, let's go for a color wheel. Let's choose a light yellow tinge to that. And they go, that's that done. There's our charter. He's being green screened out, but a shadow in there. Now, again, to make this really simple for me, all I'm gonna do is take that down there on a file group. Okay? Double-click on that word group and call it box one. Okay, so that's a group called box1. There's our graphic, there's a German, SO I can now drag each of these elements into that group. Click and hold. Click and hold. And how all of those elements are inside of that group. Really cool, isn't it? I love it, I love it. We wanna keep our camera. It's other course now, remember File, Save. Now C Command S or C, very quick way of saving. But just to get you guys used to saving as frequently as that because sometimes you lose a project. It's not very nice at all. So double-click on one of our little, any one of these double-click it sends its own projects. They're cold. Now with that done, we're going to take this whole box, click on it. Command D, my favorite, favorite shortcut. Thus create another box with our red arrow selected. Click and drag out. Now again, depending on your computer. It might do this really quickly. It might suffer a little bit. Under our render engine here, we can change that to quarter, see what it does there makes all pixelated but doesn't matter because all it does is it speeds up. Yeah, move in lots of graphical elements around. And the idea is that it takes a lot of less heat off the computer to do it. In my case, got quite a good computer is allow me to move it kind of in real time. So it seems like, but don't be scared to drop that render down a little bit. It's got draft in here as well. All those things out. So there's that copy there, command D again. Okay, and there's our arrow. I'm going to pull the element across like so they go rights. And there is our three people again, a good idea to save, saved, press Play. And again, so you start to see that my computers now sort of chugging a bit because a, it's producing what we've, Well, we've created three copies of the same animation. We've got a light in each of these boxes and not all casting a real-time shadow. So that's a lot of processing power to do all those things. Okay, so just remember that it's going to create little heats are there. So let's go to box 1, which is this one over here. So obviously I could name this box left as we look at it. Over here. Again, IOC, it's a good idea to rename this because it will helps, right? Box, right? So let's go box left. Open that up, look at the light. And of course we can make it like a traffic light. So we can go to our thing here, drag it over, and you'll see there that that's going to create my dream one, which is great. Box rights. Go to our app, like copy here. Double-click this. Hopefully I can make that red color. Let's make that red. There we go so quick. So we'll do is we'll see, make sure it's highlighted, double-click it, drag that around. You can see we can make any color. Let's make it this kind of read. So be like a traffic light. Red, yellow, green. Okay, happy with that. Let's hit rewind. Play. Perfect, love it. That's looking good. Now what I can do again, just to give it the whole sort of thing and look a little bit better. It's just move that light around. So click and drag that light. You'll see that it just shifts that things so it looks a little bit different. Let's go to the box on the left. Grab that light as well, and let's drag that around. And again, you can ink however you want to make it bigger, Let's make it make it taller, maybe not so uniform, right, that goes to the right a little bit of him. Again just gives that whole sequence a little bit. It's a little bit different, different look to it. There we go. All right, Looks pretty good. Now, I want to change the background of this project because if I run this now it's just going to be black, which is a little bit boring. So if I go to the web projects properties and it's got a background color is white. So I click on that black box and make it white. And the background is solid. Okay, now we'll give it a lot nicer flavor. And let's go file and save. And there we go, We've finished. There is all working away. So I can now go to, let's go to Share button and export movie. Okay, so that's a lovely a preview of what it might look like. So I'll press Next. It would, of course, start to render that from this view. But what I like to do is go to our camera, bring our playhead so the very start the project. And with a camera highlights it, we can use our sort of pulling on the camera there. Get up close and personal with this fellow in box number one. So kinda reveals really what we'll be doing. So with a camera highlighted on the web properties got transform, got position here and rotation. Or we can do is put our little key frame into that point there, see you there, and then drag the night. Okay, to the end. And that we're going to do now is bring camera all the way out to show the y called the end. The end is shot, which is something about there. Absolutely fine. Just leave it there and you'll see it's ultimately key, framed it from 1 to another. So if I made this back, yeah, fantastic. So let's hit Share export movie. Now the law there, press Next, that's in Manmohan, press Save. So again, depending on your computer, you'll see that mindset two minutes and it's fast, the quite fast. It's going to munched through all that to give us our end result. Okay, so here we have the end result now. So just press play, it's finished rendering. And we see that coming up now you'll see that I've got some white gaps now. All that is is a fact of just pulling that left wall in and that would get rid of that. So we would have a solid look there. But just to show you that, you know, as quick as we've built that together is quite good result there. Perfect. So that's taken somebody and have a green screen. I'm putting into a 3D object instead of motion five. Love it. I hope you enjoyed that. See you next time. 4. Animated an advert (Jimboot) : Hello and welcome back to going further with motion with me James. Today we've been looking at creating this bit of animation here. It's called the gym Boot Company, and it's gonna look something like this. So here we've got 123456 layers of things all going on. This sky in the background is part of an asset which is already built into motion. So we're gonna be using that in this, the other parts of this. We've got off the Internet and it's available in our little folder of content. So quite a bit happening in here. So let's go ahead and build this. So here we are in motion. Unless SEC got to make sure that 720 b or whatever you will know Cij want to create here again, I will stick to 720 P, 25 frames per second. And we're going to make this 15 seconds long. Just click in there, we'll see them change it to whatever you want, as it should be 50 seconds and we're going to press open. He went to side motion. We do lots of Zoom in the end of this session today. So if you've not got it already says pitch of a hand here. If I click on this and go to Zoom, okay, So now I've got the same. If I hover my cursor over the canvas, you'll see that I can click and drags a holding the left mouse button there and clicking and dragging. And they will meet to go in that screen quite quickly and easily off seeing up here and say Fit, fit screen, or a 100 percent or 50 percent, etc. But It's extremely useful this plus or minus shift and z. So if I hold down shift and zed, that's also a very quick way of filling the screen with the content. So it basically fits it, lets you see the word fits it. It does exactly the same as shifting Zed. Okay, so you'll see me using those shortcuts quite a bit during this session. So that sets up beautifully. Okay, so let's get into the right here. So let's go ahead and start to bring in some of our contents. So if I go to the word import, in here, you'll see our session 3 folder. There's our media folder. And the first one we're bringing, these are countryside and press impulse that you get. Okay, and as you see the contents slightly smaller than the screener, Morgan do Smith's stretch that act to kind of make that fit for us. Okay. So it's just overlapping a little bit, which is roughly what a once subplot that. Okay, now we go to Import again. And we'll bring in our mountain range press Import. There we go. There's our maintenance and again, we're going to just stretch that out. And I'll see you for holding down Shift it will constraint is, if I let go a shift we see we can pull it out of that constraint if we so wish. So I want something that's going to fill our Canvas, which is bots and all that. That making two odd. Okay, cool. That's what else do we need to bring in that's kicked on here. I've got a cold clouds. So this clouds, if I give it a click, you'll see it's this bit of animation. And this is already inside of your motion install folder. So what I mean by that is if you go to your library here, since the library, and if I come all the way down here, you'll see the word content, okay? So there's lots of free content inside here, and I really do urge you to look in if you haven't already. There's some cool stuff. But to kind of skim through, it says 1349, I need to download those clouds if I go down. And so we wanted to search there, type in clouds. You'll see that it's actually already built in. I don't know why it's not show me that, but it is built-ins. If I press clouds and I press Apply, you see, brings it in for me. Okay. But I have included it just in case inside in a movie file, just in case you haven't got it. Okay, That's 19 and a half megabytes. So there's archives. And again, because it's a video file, we are free to stretch that as well, which is pretty, pretty yet. Okay? So there is our three layers and I want to do is believe there's, as they are now going to press Import. And I've also included here somebody called boot copy, okay? And this is a JPEG. Okay? So if I'm going to say an press impulse, you'll see it's it's a J peg, which means it's subsidy kept its white background. So what I wanna do here is I'm just going to press Delete. I'm going to minimize my motion file there. Go to my file folder. Go to documents. There we go. Inside of Session 3, there's the boots. Now if I just double-click this inside a finder, something called preview opens up for us. Okay? So yeah, we'll see here it's got the web preview. And to save any sort of timers going to take the white background at the LCP, load up Photoshop's and all that. But if I click on this little tool here, okay, it says toolbar, show me toolbar. There's something called it a wand. Give it a click. If I move my cursor anywhere in this white bit, click and hold and drag. You'll see that I can start to take that white back ground really easily. I find it's so simple to do here is that a previous opposed to opening up Photoshop or Affinity Designer or Affinity Photo as well. That does it. So if I let go, Okay, so click and hold and drag it and I put a little bored or anything, just press the Delete key. Now when you turn it from a JPEG to delete this, but I, it's gotten into PNG, which is a sort of a see-through folder file, sorry, suppress that. They go snap that straight out. So now it's going to be see-through successor, the PNG. So I can close all of that. So now we have, so I'll click it. We have a PNG file. Exactly what we want. So if I go back into motion now we were before pressing Alt, click on our boats. There we go. Perfect. Just what I need. Okay, So I'm going to start dying or something like that. That's perfect little handle here as well, Let's say till this was pretty good too. So there's all our layers. Okay, So with all our layers in place, what we'll do is start to work on all these LD separate items inside of here. So we're going to uncheck these. Okay, So all we've got is our background, which is our countryside. And I'm going to basically mask, well, I don't need for this. So I'm going to send a mask around here. So if you're not there as before, click on this icon here. I've got this thing called a Bezier mask here. Okay? Now it gives us a pen. Now all you do is click, click, click, click, click, click, click, click. All the way to there, to there, to there, and just link up with the previous model. Perfect. Now that should have happened tools, if that hasn't happened with the Bezier mask on I did. It's an inspector and unmask. You'll see inside here, it's got invert mask. If I click on that, you see does the other side, okay. We want to make sure that obviously it's kept that. Now you'll notice here that I've been a bit shabby with it. I'm not going to worry too much about this, but if I go to the little magnifying button here and zoom in, okay, I'm gonna show you how to refine that just a little bit here. Okay, so there's a lot of points now if I click off countryside and go back to the Bezier mass, you'll notice all those points have gone. Okay, so how do I edit that? Well, we're going to go to our icon here, click on this and hold on my spot down when we click on there and press Edit Points. So it brings back those at it points for me so I can now click and hold and drag those down. Yeah, Simple, Hi. Simple when you click and hold. So I can get rid of these little bits. I don't need OK. Command Z to undo. And I think you might have done by extent they're okay with that. Okay. All right. Now, if I want to add an extra pointer here, well, if I hold down the option key on my Mac keyboard, so hold down the Option key and then hover over any of those, that red line. You'll see the little plus button appears. If I click that once there is my new sort of key frame there. So I can now drag that up. So busy I can hold it in. So we'll see I can add as many. There's a wanton start to shape landscape, how I want. So what's magnifying glass? Okay. That's that's okay. That's what I want. So shift and zed, I'll bring that back up. So they go, there is our first bit of a countryside landscape there. So we can go to a mountain, nice, we can uncheck that. We've finished with that goes while mountain. Okay, Let's zoom out a little bit from here. There we go. Now, the same thing again is I'm going to basically very roughly chop this around using our mask tool. So again, I'll start off over here and come in. Okay. And again, if you've got Photoshop as well, what are the products that lets you do this sort of thing? Then go ahead and use the atlas. That's not a problem. So it can be as delicate as I want. Again, it's not one of those lessons where I'm teaching to use a tool more like a factor of, you have shown What's the motion is capable of. So there is my mask again, that looks pretty good. I'm happy with that. And you see I've already stretched out to fill this canvas here. So that's that bit done. We've got our clouds. There are clouds. Okay, for press space bar to play. And you see that's their content there. One needs to do now is start to arrange his lays into what I call a final format. Okay? So lets us jump higher a 100 percent. Let's have a look at this composite. Let's turn all our layers back on. Okay, there. Okay, so when you start rearranging these in the correct order, so the clients are going to be the back. Okay, and then we want to bring our countryside. But Lance, when I maintain the kind of the that's a syringes properly. There we go. We want this to be roughly. There are mountains. That's perfect. So now our boots click and hold and drag and drop the front of that. That's about right. I can use this handle just a twist a little bit, make it a bit bigger as well. Yes, that looks about right. To bring my logo in as well. So let's go ahead and bring that logo in. So important, this is called the gym boot logo. I built this in. Affinity Designer. Thank you again. There it is as that now let's scale up or down Shift. While I will not to be so maybe about there. Okay, so that looks pretty good. So far. Now, this project is going to be roughly about 12 seconds long in total. Okay, So that's what it should look like we've finished. So let's go ahead and grab hold of our sort of the end frame here. We can track this site to roughly about 12 seconds. Let me go and get us fine. So you see the project runs to that full length, but now it's going to stop at 12 seconds. Okay, I time to, but one, notice that the clouds, Let's grab click and hold on this and drag it up one, notice that clouds finished because it's a piece of video. If I could put my cursor here, you see I can't stretch it and younger because it's a piece of video running across the whole timeline. So what I can do here, It's really cool if I go to behavior, okay? And insight he got so called timing. So there's lots of things you can do inside a, but one thing I can do is go to setSpeed. Okay, so behavior, read timing, setSpeed give, I'll click. Okay, a little panel opens up inside of our behaviors. It's a set speed is set to 50 percent. Okay, so it's gonna get 50 percent, but my bar hasn't changed. And the reflex is because if I put my cursor there now, click and hold and drag, I now have the space to make that last longer. Look at this. So yes, it's slowed it down slightly, but it still works for us. But it's finds a stretch that animation across the whole sort of 12 frames, sorry, 12 seconds that I need go, they go. So that is a panel that controls all that. If I click on setSpeed, you put it all inside of here, okay? So it can move up and down, but you'll notice and as you drag it out. But we affect what's happening inside of there. So they go the song. So now my piece of video has been slowed down to fit length of my video. Now you'll notice in my video that we did. Let's go and open that back up again. Jim boot animation one here. So I'm not looking at it. That we all start to fall down into place. Okay. And they have this bit of writing coming on. Little logo appears. Okay, so we're going to bring this bit of writing in now. So I tend to do is set this up exactly as you see here. Setup the end, the end goal really this is what we want it to look like at the end. And then we're going to work backwards when it comes to see the animation makes it so much easier in my opinion anyway. So let's go ahead and start to add this piece of text into a boot animation. To do that, what we do is we've got a group highlighted there, press the T for text, and click up in here. And we exclude type in here, traveling the world one step at a time. So there it is. Now once I've typed that in to the press Escape, that tells us we finished with it. Got to my size tool here. Okay, that should have opened up and roughly line this up a little bit. So just take that down a little smudge there. Just a little bit. There we go. So I need to shape this around the boat. So how do I do that? Well, this is really cool. If we go to school, It's x-height is we've got the layout, their text formats, and then layouts. Okay? So layout method is set to type, okay? So if I click on type and I go to them, path, okay? Okay, nothing changes until I double-click on that text there. So give a double-click. And now we can see we've got these through three dots. Okay, so let's zoom in here and have a quick look again. Let's do you meant Okay. So path, okay. Cutoff point a. Given a double-click, these three dots suddenly appear. So if I start to pull this, yeah, cool. Okay. Lovely. Try to stay here. Okay, so it's starting to bend now. Perfect. This is really wild ones happened. So I need to add another point here to make it the shape of the boats. So as before, if I hold down the Option key, you'll see that little sort of ink pen appears. Give it a click. K is added that control point for me. So I can, I click and hold and drag that in there. So Cooley. Okay, so what I'm gonna do is it needs to go, it kind of maybe leave that they're at and look control point here. So hold down the option key, give it a click and just drag that up. That's perfect. So that's what I wanted to say. So they go three simple submit shows, let method path. We got normal texts that give us these three control points by holding option I've clicked on actual values. This gives me 11. Perfect now plus, plus and S. Hold on left, madison, strict that backwards a little bit. Perfects. Another little tip here is if I click on this and go to the pen tool, you see it gives me a hand. I can click and hold and move the canvas where it needs to be. Okay, So the pointer, so here we are inside of there. Now what we do is just change this text a little bit. So if I go to Appearance, There's something called the outline. So this will punch the texts for me and then go to black. There we go black. And once we've done that, where are we? Here we are width. Just bring that width up a little bit. Look at that. Perfect. So now it looks, it looks pretty good. I'm quite happy with that now. So that's that path tool, which is a pretty cool way of wrapping some text around a shape. Now, what we do is going to reverse engineer all of this night to create that final animation. So how we do that? Firstly, we do is we can zoom out Cisco 50, maybe not so far. Let's get to our Zoom here. And I go to my pan. Okay, we are. Okay, so that's where we want our canvas to be roughly. Okay, so everything is now in place, is looking pretty good. So what we do at four seconds, we will always animation to land. Okay? So by full seconds, all of these things have fallen into place. Sang, I put my play head exactly. There were work backwards small lists, right? So let's close down these points here. Cause that done. The first thing we do is less clients, okay, so clouds are highlighted. Our play head is on a full second marker. We can have properties and in position. So position, this is where it is in 3D space and on the y. So the x is left to right. Y is up and down as that is, backwards and forwards in 3D space. So with our y, what we can do is put little keyframe on the Y ready bank, okay? So there's our full second marker there. Okay, It says our keyframe added in as much for the clouds and light. It. There it is. There's our keyframe. Just move the play head back over here to the start. And in the y, click and hold and just push that just above there, like that. Done. Okay, so if I press play, beautifully falls in and we'll do that for each one of the. So again, four seconds. There we go. The mountain. So again, under the mountain heights it a little bit properties on the Y. Hit the Plus, there's my keyframe. Move it back to the start and take that's just there, just above the Canvas screen there. Is that done? Okay. Perfect. Countryside, and that's not been done yet. So again, keyframe and the y rewind to top. Okay, Perfect. Okay, the boat's probably last one, so let's take that from their keyframe on the Y. Drop it back and push that. Just I have shown there. Okay, so the last one we see that is this Jim boot logo, so we don't want that to appear until much later. So all you do is take my plates around the full While some of that and just press Okay. If that's not working for you because from the NTA and just drag that to there as well. Okay, so we want, so that's, so what we've got the moment that is this animation that all falling into place, which is exactly what I wanted to happen. Okay, So let's go ahead and zoom in here. So Shift and said that brings it up. Hold on that mouse button to drag it in a system. Look at that now. Press play. Fantastic, so all fall into place. So what we normally have, just re-time this slightly so you can see that each layer is kind of falling a little bit shorter than the previous one. Probably a good point to save our projects. So go to File, Save. Remember the clips media. Okay, So demo boot Jim there, press Save. It says My Projects say so I'm not losing that folks, right. So now inside of here, we'll start off with our countryside. So I wanna do is I want to key frame set of four seconds. And at 220, we're going to grab that key frame to stop at Math 220. And that basically means it's going to come down quite see, kinda falls down and the rest is going to settle behind it, which makes the animation look a lot nicer. Okay, next thing we've got the mountain, so that's good. The mountain one. And we tried to maintain to about 308. So there's our maintained as our keyframes, so we know it's there, so we're going to speed that up a bit. There we go. So the max, it's got nice little bit of a drop of the NC. That's nice. Yeah, Perfect. There we go. And now the boots, so go tabu. So with the boot, what we're gonna do is gonna extend it just a few, sort of under a second, nella eight. Go. Now, if you want to work with animation from initially I am, I've been to an Apple and I'd seen this actually in one of those fantastic billboards. These animated build walls are seeing a lot more of these days. So I saw the animation that was really simple what they've done there, but it's quite effective when you're walking through it. You know, apples are great places to see this sort of stuff in action. So if you see an thought that feel free to email me and we'll have a look at building it if you live in another session so you can email me at James, at I discovered dot tv. Do you see any sort of collaboration? Send it my way and we'll see if we can't turn. Break it down and see how that works. So they go, so it's all slowing down beautifully. Got that cool. Now, let's have a look where our Texas, because at this point now that will fall and amp beautifully. We want to bring in my text at this 4.82 mark here. So boom, there it is. Okay, So good luck. So it hits and then boom, it appears Kate, and our logo is roughly going to come in at that 4 second mark as well. So let's hide that logger for 1 second. So you'll look at bringing this trapped in the world one step at a time in. Okay, So the way we do this is it's had over text. There. Go to Layout. And suddenly we've got the word type on. And this is quite cool, some great sentence inside of hubs. But so we'll concentrate this for now. This type on a 100 percent if I move this time. Okay, you can do that or like that. Okay, so catchy, go backwards, which is also quite cool. So in this case, we don't want to see this at all. So what we can do is we have put our cursor, in this case the forest seven where it starts. And then we're going to rewind this. So it doesn't show. So hit the key frame. Okay, so there's our keyframe and Nao. And again, just a fraction of time. And then drag that up. Okay, so it's a little over 90. So as it comes down. Perfect. Now I think at that point would be a good idea. Then to go to a gym bootlegger. See it, there it is. And under sort of behaviors, basic motion, fade-in. It's a great time to pregnancy, nothing ready. Press play. So Space-bar press Play. So as it comes to an end, I want not to say it back then. So yet it starts a little bit sooner. So let's take it to there. Let's take our Jim boot one there and just fade that in. Just as it comes in writing magic. And there it is. There's our animation. So all left to do now is actually it runs to the end, which it does mean that in a bit. Okay, so if I go to Share and I export maybe in his, his entire project, was it 15 seconds made that in this case 11 24 think is supposed to be vance, while that's fine. Include video and audio in this case, it's this video with this press Next. Okay, and this is a demo. Press Save. And that's now going to exploit that. Again, depending on your computer that should do it. Sit matter time, hopefully my press Play. There, we have it. There's often, yeah. So they go hope you enjoyed that. As you can. Keeping all our assets named is so important. Let's go File Save As well as why. It's so important because you see how easy we cut through that content very, very simply, very, very easily. But again, it's that whole working backwards, not trying to build the animation. And then they all fall into place. Getting that animation where you want it roughly. And then rewinding here made that whole process 10 times ys and something I found I call actually the hard way. So again, hope you enjoyed that and I'll see you the next one. Bye bye. 5. Using Dropzones & Replicators : Hello and welcome back to going further with motion five, it would begin looking at replicators and drops. Science says go ahead and open up motion, make sure motion projects. The satellite did 720 P because it's easy for us to move around 25 frames per second. But as always, make sure the project is set as you wish and leave the duration of 15 seconds here. But wherever you like, Let's press Open. Say we are in a nice, clean Canvas, so we'll go over to Add objects and we start off looking at something called a drop zone. So that's key if I click now dropped, so what's my city as, as created itself and fill the canvas from top to bottom, you'll see an R group here that the width drops. Simon's suddenly appears. Now what's cool about jobs and his wing? Grab that corner and start to resize it. I like it. So grab hold this little handle here and drag and twist it, which is also good. But if I want to keep the property as I'm pressing Command Z, to undo that, the commands that done do, I can constrict them by holding the Shift key. I click and hold and drag. And you see that it will keep that sort of rectangle shape that I want. If that's the case, that's handy. Now let's move that drops down to maybe they're like that. So imagine I've gone and settle this and that's exactly where I want it to be. Now with the drop zone, I can add an image. So if I go to my Finder and you'll see in the session full, I've got three photos, okay, if I press the space bar, this is quick look inside of the macOS here, and that's model too. And he said Model 1. So I can do is grab hold of model 1 and just drag it over. You see it says Yellow. Okay, So click and let go and it's already constraint that picture to, that drops out, which is incredibly handy. Now why is it handy? Well, because obviously normally what people do is I go on either picture model, I click and drag it in, that do that. And then they'd move it around. Okay. And then I'll sleep, shift and resize it. Okay. Which is absolutely fine. There we go. Resize it. But if I get a customer that I'm doing this for, if I change my mind, I've got to resize it and leave it at this angle and Socrates delete it right? So here's the one that drops, silence that the drops. And if I go to the Inspector under the word image, you'll see it says clear coal, which means I can go back to this and drag model to him. Yeah. So all of that effort is sort of kept you've kept all that time of reshaping and resizing it, which is why I love a drop site. Now these dropstones can also be used for adding video. So if you're making templates for people, so well, see motions greater, make templates. We'll talk about another time, but this is why drop sensitive because you can put what I call placeholders in and and use it like this. Okay. It's cool, isn't it? Okay, So what we do, something else, it's called bat a sort of a drop zone. Is this clear it? And let's undo this 5-methyl the start. Right? So here is my job science. So sequent this and then drop saying, Okay, we can also mask these off. Okay. So she have to just recently we can mask or drop sign off, which is really handy. So if I come down to here. All these masks, if I go for a circle mask and all you do is click and hold and drag. Okay. I want to let go. We just created a mask inside of there. Okay? So now we're just seeing that. So again, if I go to Finder and I drop that model into there, you'll see I've got a perfect mask there with that image in and asked before, get the drop zone customer change their minds or you change mind, just press Clear. Go to our first one, the first one and drop it in. So they go, It's pretty canonical. Says being a mask is we can move this around there, like so. Okay, So that's good at drops. And as I love it because we can do things like that. So if I get rid of that mask, will also goodness care. It's a clear, we can take that drop siren, go to this other one, this Bezier one here, which is pretty cool. And what you do is go in there and start to, start to cut this drop zone at like, like this. Okay? So now I've got this cool sort of cut out mask of this drops and I can move these points in the night wherever I want them to be. Okay. Which is also pretty cool. They go So there's my job site again, grab my picture, click and put it in, right? So what's good about this is I can go ahead and add another drop size, so that's Drop Zone 1. Okay? So let's go and add an object. Okay, let's make it drop zone. This is dropstones, sort of two. So let's double-click on that. Deletes. First number two, there's our drop zone 2, I guess, bigger. So it's grapple the Shift key and drag that down. So let's put that term. But that size there, okay, That's drag hold the drop zone one and lift it up above. That's a little blue line from there to there. Let go. Okay, cool. And now what I can do is take drops onto, go to my busy mask again and then actually go in here, look and actually click, click, click inside of there. There we go. It doesn't matter wage overhead, just join those two up. And that is my second job zone that's all been carved out, which means I can go to my Finder again, take the first model picture, click and hold. You'll see it's trying to go to the first one, which we don't want to get to the second one and let go. So we dropped it in there. Okay, Now what we do is we're going to pick up this mask and move it forward. So if I click and hold, drag forward like that, okay, Now grab all the drop zone and track that back. They do. So this should match up just a bit like that. There we go. So now we've got a small drop, sends a really good clean them up and make my cookie cutters. And when we finished with them, go to a dropstones and just clear them for our next projects, ASM when copes, that's a quick look at the drop signs there. So it back inside of our projects so that we can take a look, a replicator and that replicates it is also a really cool tool to use and what's called the replicator. It basically it takes an object and it does exactly what it says and it replicates it, but it does in lots of different ways. So let's go ahead and just draw something with our tool here. So let's go to. Circle and just draw a little circle. That's if all done Shift key makes sure the circle stays sort of shape and let go. Ok, now we have press Escape to say we finished drawing a circle. And if I go to this wedge shape, and so that would outline here, give it a click and it's set to white at the moment. So let's just give it a bed, sort of a border outline there. And so the width here, Let's just try that up and make you like that. Cool. So there it is. Got property isn't just scale it down a little bit. Okay, so that's our circle. And if I wants to replicate that, there's that we'll see if I press Command D, my favorite, favorite to win the motion. Command D. There we go. And Command-D. Now you see it. Take a while to do this. Command, a, select all Command D, and so on and so forth. Now, that's a long way of doing it. So I'm going to undo all of that. Okay, So Command Z to undo. So here is our circle. Now let's go over here and hit the replicate. Been cold. There you go. So the minute I've done it, we've got this cool little grid system going on. It's taken on a very, very simple circle and created this grid by it. And you see over here that hopefully your inspector is lit up, replicator is highlighted. And then suddenly you've got all these new fancy control. So again, we have a brief look at these. So the first thing I'll do is drag one of these corners here. So click and hold and drag. You'll see a starts to separate those spots, which is pretty handy. I can move them around like so. Okay, which is extremely quick way of replicating and objects. And you'll see here it's got the word. The shape is a rectangle and the arrangement is Tile fill, okay? And we've got columns and rows. So if I go through the column, start to add more rows, you'll see it fills it up. And the row also the same. Quite handy. Okay, So we have quite a few of those. So if I go to the arrangement, you'll see that we've got random fill. So it randomly puts these points on there, which is a bit odd. But if I do that, I can ramp them up and probably keep going further, further, further. But let's say in the population is going to explode, is a good animation or some other app. Okay, so random points, I'm not sure we use it, but if somebody like, now if I go to outline this a little bit more sensible, There we go, I remember is set to rectangle, so it's going to go through the outline of that was again the points again, if I start to wrap those up, perfect, look at that and go past 20, click and hold. And we start to fill it up. You to Fleet. There we go, Scott, more than we need their points and we got that points. That's called the offset. Means obviously it starts to move those around that rectangle. Okay, It's, it's got the word to build style is clockwise counterclockwise as it starts to do that. So we don't need any of that. So what I like is if you go back to let's go size, they're cool. And then we got the points there. So let's build this points up. And the offset moving those around the, the animation there. Okay, so that was just using outline with a rectangle done. So let's go and head to look at circle. Cool synapse. Let's get to be interested in, again, my, my points. So I have quick is that to make an infographic like, like that, if we go over to our 3D compensate, you see I can trick the end and start to move that. So that would be a really cool way. Animators suddenly really quickly it using that replicates are, I love it. I think it's really, really cool. Again, we went outlines, we get a tile fill. So it's going to try and fill up that space with as many circles as it can to create the perfect circle. There we go. So it's got a view in their blind me that yellow. So again, this is really cool. Remember this is from a single, single spot with doing this. So you'll circle. And this really good one like is spiral. So once we get to spiral, see what the word radius that strike that down because this is really, really cool. Scrapped. But remember because this campuses on its, Let me do that and see other words twists in here, which we start to make that look very, very cool. Sort of graphic number Ram's points bomb. So how many of those dots are raging through those lines like that, 1, 2, 3, and build a nose up. Okay, cool. So that's all of it inside of a Google, the wafer as well. So a wave across there. So that's all inside of here. So that's the replicate. So what we're gonna do is build a graphic using synchrotron zone and using a replicated to make something funky. So let's get rid of that. So let's go ahead and create our drop zone first so that we get with our drop same scale that down to about there. Okay? We can just say graphic here, GL graphics here. Okay? That's our graphing. So this is going to hold our key photo, so there is our drop sign, okay? And what we'll do is go to find it in this, go to our session for this track, a hold of model to click and hold and it's tracker inside of there. There we go. So we've got something to look out there. Okay. So she's sitting inside of there. Now what we're gonna do is we're going to create a sort of frame to go around the side of this. Okay, so let's go to our square shapes or excuse me, let's get to our shape tool, rectangle. And when you draw a rectangle over our drop zone there now you see it's white, so I'm gonna grab our graphic, put it above there. So you see that RAM. I'll drop zone is now on top of that rectangle. Okay, so we're gonna call this our frame. Okay? So frame that we get like site. Okay, if I go to sort of fill there and you see that I can pick these Cosmos DB if you're on the here, you can move this around. Sometimes the pencils are quite good place to go. So that's my frame, cool, that looks pretty good. Let me change my background now. So if I go to the web projects. And I'm going to go into Properties. You'll see hit background color. If I give us a click, it lights up all this again and I can move this Daniela that again. Now kinda look at sort of tint of cards that SAS uses, sort of lie Me sloughed off green there because it nice background and when he pulls that picture, closes there as well. So what do you think about sub-frame actually? And choose a slightly darker frame inside of there. There we go. They get that looks pretty good. Okay, so I'm happy with that. So I've got my projects, get a properties. Make sure the background costs at that background needs to be solid, okay, So make sure those are done like that. So you've got a group here, okay, In the southern route, we've got our graphic and we've got our frame. Okay, So that grip harder because property is just reduce the scale of that down to something about there. Okay? So just make quite small. Now we go to the replicate k, Okay? And that will give us this grid here. And again, we've got number, got the columns five of five. So just drag this adds whip and drag it. And then we're going to do is leave a little gap, something like that. So just off screen. There we go, like that. Okay, Cool. There it is. Now we're going to add our cameras, so and objects, a camera. And this will enable us to switch our project into 3D. It's switch to 3D, okay, so we've got one camera now that's added to the whole of this, right? So if I start to rotate now you see I've got a grid of very simple grid of images. And I love this I think is so cool because what we can do now is take that group, okay, and press Command D. Okay? So all it does is now creates a duplicate of the first grid, okay? Which is awesome. So I can grab hold of this little blue arrow here and push buttons, get pushed back in zed space C. And there's our duplicate appear in there, like so. Yes, see that? Okay, so it's looking pretty good already. So let's move this into position. So I'll set that group again and press Command D again. So this is gonna take the back group. Hopefully. Well, let's go back again. That's my active camera gets made mistakes. Sometimes. Grab that blue on there and just push them back. So as you see, we should get a group of three of three like that. Okay. And that's what I'm after, something like that. If I double-click any of these three, it should bring our camera straight up from yes, so we now get this really cool movement inside of here. Now before I go any further, you will see this one. If I double-click it, it takes this center one here. Okay, I just want to put little graphic inside of here. So to do that, we're going to create a new group. I put the word title into here, title, title into here, like that. Okay, Let's go in here. Now what we'll do is we'll put a little sort of a message inside of here. To do that, we're going to go and grab hold of our rectangle. That can hold and drag that out, something like that. Okay. Press Escape. Now as you see, is disappeared because if I look over there, it's right at the back, is dropped it into the back of the pile. Okay? Which is fine because I can use my sort of 3D Compass here. Take that blue arrows is gone, yellow as I get closer to it, click and hold and bring that to the front. Okay, cool. So double-click on any one of these up here. That's my camera. Now can I pull this backwards and forwards? So let's zoom in here. Okay, Let's see where we are. Perfect. That's where we ask we want to be with an ACE is quite big because we were quite a distance of. So go to the properties here and drop scaled name that we get. Scaled that back on profits from right. Let's take it across. Okay, Now remember we can also grab it for me guys. It doesn't really matter as long as we've got it roughly where we want it to be. All right. There it is there. Cool. Now, I'm going to type something in the hair, but before I do that, let's go to our shape and our outline, and we can change the color of the outline and give it a silver black in there. Change the width a bit. Yes, it will make our source text pop. Well, it's also good at this point, is to give it a bit of, a bit of star really. So if I jump over to the Properties here and we'll see here that the word sort of shear. And you see on the x there we can just do that. Again. It just shares it off beautifully for me. They're pretty cool. Okay, so there's my tile box inside of there. So let's get my text here. And I'm gonna do is click around this area here. So give it a click. Just put in here new for 2019 and press Escape. So as before, we can see that our textbox is appeared here at the back. So I can drag that z there. I'm bringing that forward. Way one that's a base. If we can hold. You'll start to see that text. And this is great as a sort of example because we get to work in this 3D environment is not quite used to really. It's good to, to jump around in here and see how we can manipulate things that I want. So I'm just dragging out some material. I can see that this is pumped through the second layer there. Okay, so let's go to our Appearance. Go to the color. Let's make that black. Okay, and then look at some scale here because I can already see it's quite big. There it is. Okay, so let's go in here. Move it around. And I kinda want it sit in a little bit slightly prouder of the back piece. Sas is true, then it's a more cool. There we go. Right? So there you go. There it is. There. All right, You see it's slightly proud of that. So what we'll do is we'll just put it back a little bit. We'll just push that text blue arrow there and just drop it back a little bit. See that? That's exactly what I wanted to be. There we go, right? So when we look at all these things, we've got our layer. This is why I wanted to be fantastic. Okay, so there is our image. Now of course we can play about tanks. Go to our text tool here, go to our formats and change the, change the styles inside of here if you so wish. Okay, so free reign to do whatever you want there. Let's leave it at that for now, That's fine. Now what we can do is, is basically create a movement. But before we do that, when I'm want to do something to give us a little bit more like kind of pauses if you like. Because you've got this really cool sort of 3D grid looking is one I'm going to do is turn on until we hit Render. You'll see here it's off by default. And the reason why it's off by default is because it can make your computer run a bit slow when you start building up layers of graphics in here. So let's hit the word depth of field. Okay? So what it's done is it starts to pull the camera and put things out to focus on where the actual camera lens is. This would be a good time to save. I normally save as I go, but this is just a demo. Grid. Mouse-click media. Always do this guys. It's going to take all those images above used. In fact, there's an e to him using this and keep them all organized in this folder called desktop here. Okay, into my grid. Press Save that. So what I wanted to show you guys is actually focus on this particular part where we've got this text inside of here. Okay, so to do that, I'll click on the image here. Okay, So it's all highlighted. And if I hold down the Control and F, Okay, so hold CTRL or control and tap the F and that forces the focus onto here, as you see that becomes super, super sharp and everything starts become a faded. And that gives us that nice realistic bits of realism I think to the image, it gives a little bit more. But if class to that whole graphic there, okay, So all that leaves us to do now from here is to record a, a motion of movement inside of here. And to do that very simply, we've got a camera highlighted here. And I'm going to pick my sort of well, sort of start, start frame if you like. So let's go to, let's do that because S2, that's going to end up out there. So let's take our sort of, let's take our play head. Drop it to about four seconds because these things aren't really much longer than that. So our camera there and under properties, we're going to go to position. Okay? It's going to add a keyframe if this is opened by the way, guys make sure that that's clicked on that and it gives you that keyframe. So that's the end position, okay? And I'm going to bring my playhead back and just basically Pull this two here. Cool. Okay, and that's automatic added that key frame ends. If I press Play. Perfect, it brings in. So with that done, if I go to the width share and explore, maybe that gives me my first kind of graphic that I want to use there. And we've seen, so the here, that's just that pull. In fact, let's go back. Because it's all we're going to use in here. Another good thing is to bring this in here, click and hold. And this is our play range. By the way, that's what that is. This is our play wages and employment that's about there. Okay. So all we've got is that bit there. Go to Share, export moving. Okay, use play range which is only four seconds, otherwise be 15. Press Next, we can call this part one. Okay, so it's desktop press Save, and that's going to render it out. So again, depending on quick your computer is, it will render that if I press Play now we get this really cool. I know they're there, we go nicely CQ side and focus for us. Now what we do is delete that keyframe, then this one here. Okay, So now our camera is kinda reset back to how it was. So what's the end position going to be? Well, maybe it's going to be over here so we can restart lies this, get it back to me. Maybe they're like that, so it's coming from a certain angle. And let's add a keyframe in there until position and maybe rotation as well. Okay, let's bring our playhead back to the start. And this position it over here somewhere. Okay. That looks pretty good to me. Now you'll see it's already put those keyframes in. So if I press Play now, cool. There we go. There's that end position we were looking for there. So again, I was working back from what we want it to be, so I'm happy with that. So hit Share, export movie. Again, use that play range from there is they're looking pretty good. Press Next, and we'll call that part too. Depending on what software to use after this, you could have SI units into Final Cut, ten or even iMovie as a project and pull these together. There we go. So I am position and that is how we'd use a replicator. Will it drop slow? Of course, if you're happy. We can go back to our drop zone here. This is our original picture. And he clear. So now we have a custom template which means we can go back to our session for drag that in there. Okay. Drag it in. There we go. And suddenly we've got all of that graphic all over again, which is exactly what we want. And they go, That's why using a drop zone is pretty cool. It's gonna save you a whole bunch of time. At the end. There, There we go. Thanks for watching and we'll see you next time. 6. Create Your Own 3D Art Gallery : Hello and welcome back to you going further with motion five with me James. In this session, we will look at building this galleries. Here we go. So actually see we've got a frame there and inset with what looks like a piece of glass in the front which is reflecting the back of the gallery. And I got a picture in here as well. Okay, So it was really, really nice and subtle sort of reflection. It brings this motion projects live. I love this option is to many people and there was asked me, How did you get how did you make that happen? So that's what this tutorial about is shown on my friends from folks like you, how to achieve this greenhouse effect. So that's what we're going for. So that's the end result, which is pretty stunning. Let's have a look at the gallery projects. So here it is. Now, this is a kind of a complex motion project, really, really simple nodejs execute it. So what you see here is I've got a floor texture for now. It's not being used in the render, but if you wanted to use it, and obviously it's here for that purpose. We've got a back wall here, which is the photograph of the gallery. So that pitch is lit up by two spotlights, is to split this up here. And and that's lighting that up. Really, really bright is about 49 percent brightness on that. It's like that up. So when we look over here, we've got the wall okay. Gun, which is a standard rectangle. That's all. It is painted black almost like a very dark gray. And then when we actually look at what's the whole fuss is about the actual pages. We'll see here that we get and we've got a simple rectangles esco to see picture frame 1 here. So that's got a picture frame, again, just a black rectangle. It's got a white insets. In this case, if I look at the shape of this, it's going to fail of sort of this off-white if you like. But the outline is a solid white line which gives it a nice defined sort of area right now. So I'm just quite nice, quite that. And then we have something called a piece of glass, which really is the insets duplicated and brought a little bit further away from the actual photo. Okay. And then we've just gone over to the Properties here. See you turnover flexion and turn off the blur my butt bring the opacity down to 2%, which basically makes that whole white piece see-through given this glass look. Okay, so don't worry if I've lost you because we're going to go through a step-by-step now. But hopefully you see that it's a really see in real time. Here's is why loved motion. It's rendering it in real time. In other words, we can see that our fates and what's going to like very, very quickly and easily. Absolutely perfect is the model of motion. It's given us results straight away. So let's have a quick look at it. Since we've got this back piece, the floor, the wall, and just as elements aside there. So let's go ahead and build this from scratch. Here we go. So here we are back emotion, 15 seconds on the clock, and that's fine. Hd 25. And as always, you can go to your full k here if your computer is able to push the atlas nipple muscle. So that's what sets up, as always, press open. Here's our Canvas. Okay, now let's go to Import. Now if we go to our session files issues, session number five. And then here we've got all the elements we need to start building our RAM Gallery up, okay, now, but a few of the fat grass in here for you guys, okay, so I'm quite nice ones that's using in your own projects, but of course, you can bring your own him. We use the drop zone for the gallery. So you'd been as in as a one. So the first we need to bring in is the floorboards. Okay, so press Import. Okay, we can leave that exactly where is it should fill a little screen there. Okay, So there's flowable, It's nice. Imports. What else do we need? We need to bring the art Ganymede background and really important. So press, Import and they get us inside there as well. What else do we need? Won't need the wall. Okay, So this full well that, so that the build the ball. We're going to go to my rectangle here, goto rectangle there, and just simply click and drag like that and then press escape to save. We finished. Okay, that's that done. So we'll leave that. That's fine. What else do we need? Well, I think that should be it for now. So let's go ahead and start arranging this in our 3D space. In fact, actually before we do that, let's get our drop zone in here. As our chops I saw a drop zone will end up being off. See the photo frame. So all you do is just bring the size that dynamical worry too much about that at the moment. Just bring it in at this juncture. That's going to help us a bit later on, right? So we've got a floorboards. This uncheck these events. So these are just spit floorboards. Perfect. Art gallery picture, a rectangle. And I'll jot some which are just scaled very roughly DNC, that sort of size, right? So before we do anything else, this uncheck, all these will get its while floorboards. We can go to add new objects and bring in our first camera. Okay? And this will switch up objects to 3D. Okay, at this point, let's Save As we go access projects. Might push the results, so computes a little bit. So good idea to save this, okay, so we call this gallery lovely. Let's make sure we collect that media. Very, very important to do that. Press Save it brings all those images together. I've got calorie authority. Okay, so there's our gallery now. It's saved. There's our camera, which may straightaway if I go to the floorboards here, we can put my cursor on any of these little circles here and tried to install, I want to make this sort of flats roughly about there. Okay. But if I go to my inspector, I want to get as much bang on. You'll see under rotation here, 91.3, not bad. I was pretty close was like soap operas 90. That makes sure that that is completely flat to the ice. If I drag that down, we'll start to see us almost peering over a little bit, kind of looking over it. So it is still nice piece flap. She's perfect. One wants it to be. Let's get our art gallery. Now's give a checkbox. Let's bring it, boil it in forests. And we want to use them as spin this like site just like our projects. So before Kate roughly there, so minus 89, pretty close, slight minus 90. Lovely. And just drag that back to a bank there. You'll see it's coming quite low there, so I can use that little green now, I'll see, never do this. Never pick it up and try and because it lowers be wrong. Commands that I always make sure those arrows are highlighted otherwise, you'd be in a right picker with this. So with that green wonder, click and hold, drag it up and it's somewhere about there. Okay, cool. Now remember we do have to save this manually. So File Save or as before. Let's do that again then. The category articles that's called a gallery to copy the folder. Absolutely. All right. Thank you. Saved. All right. They just so if I start to rotate, taking shape is there, okay, Now I'm over its double-click. Any one of these returns us to this perspective view of the camera. So that's that done. Let's bring our rectangle in. Some rectangles, flattens green. And what we do is we're going to rotate this. Okay, Roughly, look at our properties transform there, and that's a simple 90 there as well. And press Enter. Use the blue arrow and slide that back. Just so it's on the end of that. That's perfect. So there is our gallery wall. Perfect, perfect. A drop site. And again, this is switched on. So there it is there. And again, we're going to quickly start to 90 degrees as well. And that's pushed that back. Like so. This can be tricky bit is just lining things up. But once we've done that, folks is going to get the results that we're after. So first thing I kinda wanna do, Let's rotate this rind a little bit, is get this wall looking somewhere like the wolf we've got in our previous projects. Let's go to the rectangle that's just nameless. Always good to name is Trump signs. That's fine. So with this ball here, are we going to go to shape our color here? Okay, Now when if you click on this, now depending when you click on this white box, you'll get the sort of shapes pop up. Hopefully we'll gonna go down to something quite dark. Not black, but just slightly off blacks and maybe this shaded gray here. That's fine. Okay, So that is my ball. And let's have a quick look over here to dumb. Right now you'll see when I rotate, what I'm doing is I'm hitting the PECS so long as you're just gonna get rid of that. And that means my swing round. I won't have that same staring me in the face. I can jump on. So this is going to be my gallery will see this is the fun BI, I think is. Looking at my drop zone and actually creating what will be the photos for my from a gallery? Yeah. This is going to be the actual what the pitcher will sit in. Something like that. Again, maybe you can make these. If you've got a long picture, you can drag it like that. If you've got sort of a landscape one, you can do that bond would give us something sort of squarish. Okay, that's pretty good. Now folks, That's my first drop. Same. So I need to create a frame and things like that for this project here. So to do that, let's take the wool that we already know is correct and we're press Command D. Okay, that's duplicated it. Okay, So seawall copy. And now we're going to do is bring this down and start to make. First of all, I picture frame for this. For this picture, right? So that looks about right again, just doing it by eye. See fine. There we go. So somewhere in the air. So that's my sort of pitch for now to make this stand out, I'm going to go make the color of this. This is why we didn't have a black wall. You can make it black seeds, so it's really jet-black. Okay, Now, if we look at our projects from before, let's just open that up. Here it is. We've seen, now we've got this white insects that frames quite big, but we got a y-intercept there. So that's minimize that. So all we do is, and I call this picture frame like that The Press Enter. That's what your frame. And all we do is press Command D, okay. And when to call this inset. Okay, It's got the picture frame is black and then we've got this inset. Okay, now I want to do is start to bring that down. And his class, because it just basically frames the picture. Now obviously you could bring in sort of walnuts would affect in here and bring anything he wants it into really it just bring your photograph it in the scanner. They say, so this inset, we've got a color here. And we're gonna make that sort of see, I'm not going to go for bright white. I'm just going to bring it down just as adults had. Some will go for what the coolest silver looking thing here. Yeah. And you see the drop zone is still on top of that. So that's a little closer. Look inside here. You can see my rotation buttons here, so it's all looking pretty good. It's all on the wall, which is what I want it to be, where I want it to be. Okay? Now, this white inset, remember, uses sort of off-color. If I go to the outline, It's basically puts a bright white border around it. Okay. Not much, but what it does, it just gives that in a bit of crispiness to that edge. Perfect. So let's have a little example of that job zone work in, so that's roughly it. Let's go to our picture here. Session 5. We've got butterflies in here and all sorts. So am countryside, the other Daisy. Let's try that Daisy. And you see that because that's the drop zone which we learned in our previous lesson. We can let go and drop that on the inside of there. There we go. Looks really good and really happy with that. So remember we can clear this. If you've not done the other session bamboo just press the clear button there. Go to our finder and drag another picture in, right? Really recently, this is why I love these because you can build a site like photographs, few friends or family or for business. It's makes it look pretty cool. All right, so I put a picture into my drop zone. There we go. Now I need to create this class. Definitely insert. And the outline is what would be important that site as well while we're here, File safe yet. So it's basically going to copy that photo into that folder. That's the last thing. The so here we are inside of here. Now, all I need to do is create this piece of glass. That's pretty much my gallery done it with symbols that folks always just create a piece glass. So see the inset bit here. Also. There's no glass surrounding natural frame that just, that just isn't. But that will be on the inset. So to do this, we're going to press Command D again. It's my favorite friend. Okay, so it creates a copy. Now, double-click that and type in the words plus. Get to rename us. Okay? And there it is, It's in there. Now, what might be good idea is to start separating these into its own little folder. So let's click on Group. Let's create a group. Okay, Now I'm going to name this group calorie. Yep. Okay. And this one, I'm gonna double-click. So new group just created, and I call this picture one. Okay, so let's bring these elements that we want some holding down the Shift key. This let me highlight each of those. And all you do is click and hold and track those into picture one that way. So the GAVI there, look, if I if I uncheck that and then lock it, you see it? What's going to do now is it's just going to collapse all those together and lock that layer down for me. So if I look over here, I can't accidentally maneuver any of these elements, okay? There will need to be good, good. All right, so I've got picture one is if I clap size here, nice and organized it is now. So if I want to add more pictures, so I'll just press Command D and I can, I can spell that right first. Sorry. There we go. Gulp picture. So everything to do my picture now is inside this group look. Okay, got it. Glass the inset, the picture frame and the drops off. More importantly, where you're focusing on state. So let's look at this glass now. I'm going to move my, my camera just to decide here. And all I'm gonna do is basically start to move this forward. So see that little blue arrow click and hold. And basically just inch that forward. Now what happens is you'll see your separating the layers. Okay? Okay, So once it's in front of that pitch of the daisy there, see if I go back again. There it is. So bring it forward. Just a tap in front of there. That's what I wanna do. Okay. Now to make it reflective, because this is the glass bit name. To do that, all we can do is go to our properties, okay? And inside a here we've got the word reflection. Okay, So glass properties. Reflection, click on that. Okay. So straight away is starting to reflect the floor inside the picture. Okay. And that's it that would show and we've got how reflective is it says 80 percent, so we're going to back this up to a 100 percent so it's highly reflective. But then under the wet blending, you sit set to a 100 percent. Let's just drop that down. Okay? Now you'll see though that what happens is the opacity means that we can obviously see through the object. So we're going to bring the opacity down. Do, do, do, do, I think to about 20, I think it was we chose so just type in 2 there. Okay, So that should be about right. That should be about right. So once I've done that, what we're gonna look at now is the lighting of the room. Okay, so yours should look something like this. Now, let's go to our gallery. Let's open this up. I've got a lock on here, so unlock that. Let's check books that in that bring our guardian. Perfect. So we're gonna bring some lights in here to now hopefully cast those reflections of shadows that we needed to do. To do this. We're going to bring in at projects and we get the lights, okay, now you'll see that it sits it outside of R2 elements, which is exactly what we wanted to do as far as safe away. So that's our first light now going to direct it up. Again, make sure we've got those hours analyzing, just put it just above that, like like fats. Now if I look at my lightest property now we can change the color of these lights which you've seen before. I get bit discovery. In this case, we're just gonna make it white side k. Now, we're looking at the intensity of the first one was just dropped that down to about 51. Somebody on that. So double-click in here, type in 51, and there's our first light there. So we start to look at our picture and our gallery. It starts now it's called that mood that I'm after. So it all starts become a bit more realistic. And that lie, I really love that. Yeah. See, that's looking pretty good now, right? Just that's just by adding that one line. Now, come back any number we can double-click this. There it is. Now, let's take this light. So we're gonna call this picture like OK, Command D. So C Command D, duplicate up that red arrow trick I have here. So what I want to happen now is, is this light to shine up our gallery. So we're going to make this double-click it, type in spot light. Okay, And then we're gonna get to a light types, hopefully this tab in that open folks. So it's a point. And we're gonna make this a spot. And if I look at spotlight up this little one over here, we can see it's pointing in that direction. So I need to grab this sort of circle here. They can hold and drag it over there like that. See that? Okay, so it's now facing that lights. So on are basically bath this in lights or reflects on my glass over here. All right. So let's click on here. And this track, this dan gets put up a little bit. So it's really is lighting up that bit there. Cool. Yes, You see it's just catching the floor. They're like That's magic. So subtract that over and a little bit. Okay, now what we'll do is go throw up the intensity of this light. So the light intensity, it's going to drag it up to 400 percent through that really bright light. Okay, and then press Command D. Duplicate again. And that gives us our second light, which we can now click and hold and drag that over there. There we go. So there is our element next. So we find, move around now. Okay, we see our gallery then there. And as we zoom in, folks, look at this. There we go. Our glass is now reflecting what we can see the picture, see that there's not fabulous Look at that. Yet. That's exactly what I want. So just zoom in a little bit. See that. So we have that brilliant, I love this effect. It's so good, It's so clever. Now you'll see that some people say, well, we can see that, we can see its reflection and actually is taking away some of the beauty of that photo. So what I tend to do is go back to my first picture. Okay, There it is. There. It goes through glass. And now very simply. And under the word properties, excuse me, that's over there. So glass is highlighted here. Under properties, we'll see him effectively a 100 percent, which is great. That's what I wanted to be, but I'll just take the blurred name. Okay. So just take this damn Sorry, up. Now as I drag it up, you'll see now we're getting a real-world reflections. See blow it right that we're gonna get nothing, but just bring it down. Now, I've found that about 11. Okay, so double-click that. It just adds that little bit of blues. Now you might think, well, it's still, I'm kinda funny, a little bit distracting. Remember we're in, we're in 3D here. So we can take the reflectiveness Dan a little bit if we wanted to see that we're dumbing it down a little bit there. Reflectivity. Or you can blow it some more. It's adding that bit of blur now if taking that to 37 in this case. And actually I do like the way that looks inside of there. There we go. Look. Perfect. Okay. So that we have it That was our gallery. Now, by adding the sin, sometimes we're going to get a bit of a washed-out look to our photograph as well, which I've kind of already thought about it. So let's go to our drop sound here. Go to our filters. And in filters we've got some color and then Hue and Saturation. See this. And like you Photoshop, it kind of creates a filter for this. So I can now drag this up, make this bigger. So this magic, see that if I use up there, and now we've not lost that pitch, but by adding that filled, so it's kind of made it pop a little bit. So there we go. That's it Done. So all that needs then for me at this point, Sima lights above here a little bit dark, this lightness go back in. Maybe a picture like this. What's good ideas from? Just change that tensity bit. There we go, look and watch. Wanted to just demonstrate that they can see there's a picture frame in here that we're moving around. So all you do from here is creates a keyframe for our camera. So we've got position and rotation, That's click on both of those. I'll play heads at number one. Drag it. Maybe it's a ten seconds, maybe some of that. I'd be over here. And I want to do is move the camera around name to the image. Okay. So I'm just shaping that last section of that video. Okay, so if I now all see them in it, I let go. It creates those keyframes for this section here. Now, if I uncheck this, we'll see them, but we will make sure that's checked. So if I go back and now I should get that reflection I want. Now the reason why it's black that those because it's good to make a mistake sometimes. What's happening is the cameras hitting the back of the wall. The back wall to this. So if I go and add another camera, this camera here, which are now looking at night, you have a look over here. So I'll just rewind to know. But look, we can see this camera look, so we'll see sweeping. And what's happening is it's just touching the back of that warm. Okay. So it's good to make a mistake because that's what's happening and that's why I'm getting that funky thing. So what I can do is just slide that ball back, a tab back. So it should go through it now and if it doesn't, we'll have a look. So Let's go back to our first camera. So let's, let's delete this camera one. Let's jump back here to the first one. Now. There we go. Look. You say, so I just spent a little bit. So it's still get that really nice effects. And just to finish guys, all we can do is go share export movie. Okay, exactly what want press Next. And safe. Courts have a quick look at that press play. So done that only frenzy, there's a nice blur on the, on the actual glass there. Again, make explosion like cool. So all we need to do then is to add more pictures. It's just take our whole picture and press Command D. And what it does is obviously cheaper Kate that whole thing. And I found out that if I do that, I press Command D, that I can't see my handlebars if you'd like my, that my rotation here to move it. But if I highlight each of the elements so that one there, hold down the Shift key, we get a red arrow there and I can now drag that and drop it to the right. Like so, there we go. So I end up having now is my two pictures here, which means folks, what we can do C because black, it's hit that back wall, which is fine, is go to this one is one you pitch here within the image section. Press Clear. Fantastic, There's my new job zone. We can grab. Let's see our butterfly. There we go. Which of them? Simple as that. And now we have it. A nice new category again, this time, two pitches in there. Okay, that's the end of the session. Hope you enjoyed it. I forget to safe. And I'll see you in the next one. Thanks very much. 7. 3D Animated Map : Welcome back to you going further in motion five. My name is James, and this tutorial comes from a request on Twitter. And this is what the gentleman asked me if I could do is next chord and Jack's by the way. So thanks gordon for this. He's asking you that track location on a map. And it can be some ideas that is what you wanted to do. As he built this forum or send it back. He's in Core API with it. So thanks CTO for this. Again, you might find it useful in any project that you might come across. So very simply, we've got this red line with an ox pulse thing that's following along as well, stops off embrace North. And as we get to sort of Wolverhampton here, little thing flipped science, it gives you a little bit of information. So it could be quite useful about 15 miles there and flows through into sand which then went a little flu bad as well. It's quite low resolution Heston worry about that. We'll slides when we build it properly. Let's open up motion against so 20 paper affects 25 frames per second. That's why you want to be okay, 20 seconds is what we're going for here. Let's make sure we click on the inside there. Delete what might be there. I'll see you put 30. Transient, no problem, That's all. I'm press open. So once again, here we are inside of motion. So the first thing we need to do is create this little pulsing. So let's jump to that. Could do referring to this couldn't waste lesser. Get this open. Okay. So here we are inside of motion. The first one to do is we're going to build this, this pulse thing here. This thing is pulsing away. So let's do that first. Now to do that, we're going to go to insert our library, okay? And inside here we've got something called a generator. And inside a generator. Okay. When I go hold us to things and have you not been here, worth having a look? Normal looking for is this concentric shapes here. See that? So we'll press Apply and it's got fill our screen was very cool, jazzy look in circles here. So if I go to the specter on this, okay? And inside here we've got the width is the width of a suit of my screen. It says 10281280 by 720. So we're just going to drop this two by four 33. Now of course you can do with it. This is about as it gets done. So this one, we're gonna make this says for 33, this one's going to be 45, three. Okay, So we get that little look there. Obviously circles, but have you seen go to polygons and all sorts of crazy things. So worth having a play with if you've not been here before. Okay, now we wanna go to a 180 to some others from here. So you see as I drop this thing, what it's doing is it's saying how many sort of rings are going to be inside here. So I'm gonna double-click this and make it 1, 8, 2. Okay, let's give me another one. Next up is the color. Okay, so clicking this black area here, we'll select the red. That's perfect. Okay, You'll see you've got the color wheel here. Go set a color you want. We can go for a red eye, the widths quite born. How thick are those actual brings? So I got these two, about a 100. They get, so goods, goods, click on that, a 100. And I think that's it. So you see the phase is set to 0 here. And what it is, It's actually move this up. You'll see it starts to animate and that's where the animation comes in. So very small amount of keyframes to do here. So I'll go back to 0, click in airtight and 0. And we see the timeline is set here to roughly 20 seconds. So make sure your play heads on 0. On that phase there. Just put a keyframe there. Okay? So set at 0, move our play head to the end. Okay? And all we can do is set my face to the highest domains, which is a 1000. And it's already added that keyframing for me there. If you don't see this or trough to make sure we click on our key fame memory or causal trophy. Guys. There we go. Now you'll see if I press Play. There we go. It's negative is that pulse, which is really, really cool. Okay, that's all we want to do. And that's our first little bit of animation there. Okay, cool. Let's double-click this and just tricky. There we go. So that's that bit done. Now if I go to properties, we can scale this down. Okay? Something like that. Now we don't want to see this right now. So all I'm going to do is uncheck that because we finished with that. We'll just lock it as well so we can get back to us and when. So the next part of this is to bring in a map, so unimpressed impulse. And in your file it should be nice session, that's a lot of Korea. So it should be Session 6. You're going to see just simply called map, okay, that's it. Now on a press Import. So this is important to make them MAP a good resolution that you're dealing with. Because if you start to zoom in and outs, it'll go a bit blurry because it's obviously a photograph or a JPEG. Okay, so the one that included is the same resolution as the screen you see here. So if I look at the map here, it's slightly larger than needs to be because I'll be obviously tracking in aids. So what we'll be doing in this session is about nearly went to add objects. Camera. Okay, And I'll say switch to 3D, which I'll press yes. And with that camera and I'll be zooming in and out and just rotating it. So use this rotate handle here to move around inside of this. So you see you don't need to use all of it. I'm not looking to get this angle. The camera is going to follow it along. So see, we've got the word bridge north there. So we'll start there and we're going to fold this road across. Okay, it's going to come across there and it's going to finish up in Wolverhampton, okay, over here. Okay. So it's going to follow that all the way through. Right now. I don't need to see us right now, so I'll go to the camera. So I want you to see what we're doing there and just press Delete. So pleased that camera. What we've done is we've returned back to sort of 2D view, which is what I need right now. So this group contains my truck. It was just switched it on. It should be here somewhere. Now what's happened is because I wanted to 3D the trucker has dropped behind the back of the map is actually behind it. 12. So let's, let's give at 12 points and it's snapback back out for me there. So that's one that needs to be right. So there's our map, There's our tracker. So next thing we'll do is we'll just double-click that group and call it a map. Mapping tracker. Okay, that's not done there. Sit inside there as a map and track it. Perfect. Now with that group highlighted, go at group. There it is, as a group there. And in here, what we do is we're going to create some labels. So remember the sort of 15 mile marker label? Where is it inside of here? So as we got to Wolverhampton, this particular map is little thing folds diocese is 15 miles. And if you've got another little sort of label there, okay. So what we'll do is create a group there that sad, She got that. And so we're gonna call these labels, okay, That's group. And we're gonna go ahead and draw the agnostics, bring my playhead but the start. So let's go to our rectangle, okay? And somewhere here roughly, and click and drag. Okay. Now what's happened here was we can't see it. It's because we went into 3D view, which has pushed this object, this rectangle behind the back of the map. Okay, so just press Escape for name. So I've got a rectangle with tourists disappeared. Don't worry about that. Press Escape. Okay, therefore, look at the zed on the property, say Look, sees that. And if I double-click that, and in this case, type in 12 is just bought that closer to the camera for us. Okay? Now in this case, I've got this big sort of weird thing going on her hair. So if I go to shape, this shape many controls everything to do with that rectangle. In this case, the outline is huge look, so let's take that width right back. Okay, cool. And there's no fill, so we need to make it a white fill, okay, which is just put in the chat box. It makes it whiteness what we want to happen. Okay, So there it is. So there's our little sort of sort of label highlighted. Okay. So I'll double-click this one and call it 15 mile. Okay. Now I've seen TO wherever you want in here. And again, let's go to our T for text tool. Let's click in here and then type in 15 miles. Okay, we can't see it because it's behind the back limitless fine. Press Escape. Okay, there is a sitting behind there. Let's go to our properties. Double-click that, make its wealth. So just bought it ahead there for me, which is perfect. In the text tool. Under Appearance, we've got the face here who set to white. We want to make that very simply will make it, make it black. There we go. All right, cool, right now, see. Again, as I said, you can type in anything you want in here. I will do. Because we want it to look right, let's click on there. Because the text tool and the format see what the word down here, see 150 miles is there. So I can come to here and just put capital in there. 50 miles. There we go. All right, so in that label is the rectangle and the text file. Now what I wanna do is to be able to animate this so its wings out. Again, if we refer back to our example here. So swings out like a, like a door hinge, swings ally that. Now the way we can do that is quite clever. Is the first thing we do is we make sure that the labels highlighted which it is and its contains, as you can see, the rectangle and the piece of text. Now if I click on that and I click on are sort of 3D compensate. We'll see over here, this is where the hinge point. Here's where this green arrow points up. That's where the hinges, if I grab hold of this rotation here and drag CF far away it's coming from that's growing massively far away. Press Command 7 and do that. So what I wanna do is move to this green hinge, so it sits alongside here. So how do we do that? Well, we'll come to a pointer here. You see the word anchor point. Okay, this is extremely useful. And by having anchor point highlighted now, I can now put my cursor on the red arrow. Click and hold and drag. Okay? And then with green one click and hold and drag. And now that becomes center point. Okay, really cool. This is, so if I go back to my 3D campus, you'll see now that it's aligned itself perfectly with that. And if I look at my circle, hey, on the end, is hinged perfectly where we want it to be. All right, so it's going to swing out only slightly. So we'll animate that in a short while once you've got the restaurant. So that's our first label. Now a good idea guys, in this case is command D. Okay, that's going to duplicate it. Okay, So what's a good idea at this point is once we've done all that, is to get these labels in place where you want them to appear. Okay, so we've got the word Wolverhampton. They wanted to be roughly there. This one I want to be roughly here. Okay. All right, let's get these labels in place now with the second one, Let's take a lot of text file and let's make this, again a very perfect fictitious or may hear, but it doesn't matter. So when I make that 25 miles okay. Name at 25 months. Okay. And that is 15 miles. I was getting kicked me say grips. Nice and organized. So we duplicated this one, give us this one we've moved it with this red arrow is important to move on this axis. Like that. Okay, so that's those two you done. Now, we're going to hide those two because we don't need to see them. Okay, Let's open up our RAM track here. We don't need to see a tracking just yet. So all that's in place. All our elements are now on the page. What we do now is actually draw on the map the roots that will be taken. Okay, so to do that, pencil here, okay, and with a pencil highlighted, we're going to go to Bezier. Okay. Now, with that done, now we've got that open with that, with that Pen. See the HUD up here. This is called the HUD. Okay, give it a click. And with the HUD highlighted, you'll see that it gives us this little floating pain here. You would fill and outline. So we actually want the fill to be off of j. Really important fields be off and the outlines B takes the color that you want this sort of track to be. Again, if we look back at my film here, we see the track is red, okay, which matches that. So I'll see you pick whatever color you like. So that's for this demo. That's quick, stick what we'll get on with the red. So we're going to set our width to about four pixels. Okay? So let's make sure that all that's exactly as it should. So philosoph outline is on and width is set to about 43 or four. Okay, good. Right. So all we can do now guys, is we're going to track this up. So let's go to our Hansel. Make it zoom, click and hold for the last green so we can see what's going on. So on doing with that is I've got the on-hold. I'll click and holding my left mouse button and dragging forward or backwards is let me zoom in on the map from there. So now we've zoomed in. I'm amounting to be cut back to Bezier tool. Again, just quit Mitchell has sold as it should be, fill off, outline on with it for okay. And all we do folks is draw this path to Wolverhampton. Okay? So let's, let's start from here roughly. And I'm doing is I'm clicking on the road roughly where I want it to be. Okay. And read, doesn't matter how many clicks you'd go, hey guys. Onto this roughly. Okay, since taken broad strokes here as well. But you can Galaxy fauna detail. Okay, knew that up and to the end and bang, there's a last point. Okay? Now what's really important is when you finished, okay, when you finish doing this, click on one of these, any one of these. Okay. Once you click on that map over here, any one of these points over here, okay? Any one of these, it actually just gives you the Bezier map there. It actually gives you that sort of pen mark. Okay, if you've done everything right, that's what you should have left. Is that the red line? Okay. Now what's quite cool is if I want to go in and change some of these points here, I can say, let's go with my zoom in. Okay, so we're gonna go zoom in. And we see some of these points might be off now again, if I go to my zoom in and go to my pan, but the hand, I can quickly hold my left mouse button and drag this, can look at those paths, okay. Now you'll see some of these are really awfully jaggedy and not quite right. So I can go inside here. And if this is how am I to see it's got the word Edit Points. Okay? I can click and drag one of these and move them around okay, to where I want them to be. Now, if I hold down the Option key and give it a click, what I'll do is they'll give me another points, okay, which I can drag and points into where I want it to be. So see there's that point there which I click and hold and move. Okay? Because I've got this Edit Points on today. So I can try to n ok, dot, dot there. Now hold down the option key, hover over the red line and give it a double-click. And it should then let you add a second okay? To trick inside there, wherever you might want it to be. Okay, so go back to my hand, click and hold and drag. Okay, so you can see I could spend some time and really get is pretty accurate by adding more points as when I wanted it to go. Okay, So those are my points. Looks pretty good to me for this little quick demo we're due for you here. Okay, so again, hold down the option key. It's my edit points that give it, give it a double-click. Okay, there it is. That's my point there. So drag this around. Like so there we go. All right, option again. I can wait for that pen to highlight there for me. There it is there. Okay, so there is my bezier all complete. So that done. Let's go to our Zoom there. Click and hold, drag back out. Or we can go to it goes and just press fit and fit that to the timeline. Now, if the red Bezier is gone, that's because it's fell behind the back of the map. Let's look at the Bezier under Properties under the z there. Double-click that and submit that's wealth, and we'll bring that back for us. Okay? So obviously we've added that 3D map. We spun it around a bit, lost it through there. Okay, There we go, guys. So let's that looks pretty good to me, doesn't it looks pretty good. So how are we going to get our little tracker here to follow this line? Well, this is a very cool thing. So let's first of all look at the properties of this tracker. And I can see now that actually you need to produce the scale that down quite look quite a bit really. Okay, so let's say that's about 8%. Looks about right. Okay. I position it roughly where you want it to go there. When we got to worry about that for now. So we need to track it to move across this line. Now, flattering, if you didn't know too much, you think you probably have to keyframe it, right? Which would be horrendous. Trying to get this to follow this track. Like that would be awful to try to keep family would take awhile. So here's how we're gonna do it. We're going to track it. Okay. Make sure players that starboard. Are you guys okay? Uh, truck it. Next thing we do is we go through our behaviors, basic motion. And inside here we've got the word motion path, okay? Give either click. Okay, well it gives us the straight lines. If I press the Play button here, it's just going to follow that motion path all the way to the end. Okay. Let's rewind. So in this case, with motion path highlighted under new behavior buttons just to pee it with the word path, shape is open spline. We're gonna make this geometry bank, okay? This knight gives us what we call a sort of a well. And what we do now is drag this Bezier into the well. And believe it or not, just an executive, That's if I press the Play button now. It's incredible, isn't it? And this was a massive way when I find a site some years ago when I need to do something very similar to this. And you see it's pulsing as it's going along. And it's just snapped to that. Okay, for the full 20 seconds duration of this project, It's really, really cool and saved us a whole bunch of time. Now, if you remember, when we look at our example here, the truck is doing so I can use it, but the red line isn't present until we meet the tracker, right? So you need to do that next. That's on next job inside a here. So to do this, what we're gonna do is we're going to look at the Bezier, okay? And inside here under the shape menu will see something called C last point offset. If it's a 100 percent, if I tried to stain, it actually disappears. And if I may before it starts tracking for us again, a really wide moment in motion there. Will you find this and think, wow, that's going to work really well for me. So what we do guys, is take this down to 0. Okay? Put a key frame and remember our play head is back at 0 is very, very important. Okay, So that's a key frame in there. So 0, this is doing nothing, okay? As I move forward. Okay, So let's get to this point here, for example. So let's say sort of ten seconds in. We then bring this truck of forward. Okay. So it meets up with the middle of that track, a dot there.