[Anders Larsen]

The Tracked object attaches at the anchor point.
That means you can move the anchor point of your spaceship to line up with the point you are using for your position track, that way you dont have to find track points in the sky.
The rotation/scale track point can be anywhere in you video, but it’s a good idea to pick a point that is not too close to you position track point.
If you hold down the Alt key while moving the track points in the canvas, Motion will suggest good spots for placing track points.

[Anders Larsen]

So I just thought of another way to do it.

You can use “Sequence Replicator” to raise the z-position of your replicator cell.
if the replicator’s origin is set to “Center”, this will create a ripple effect.
The “Loops” parameter can then be used to determine how many waves you want. The only problem is that each ripple will finish before the next one starts. Perhaps there is a way around that?

Here is what I came up with:

Ripple in replicator

And here is my .motn file:
2703_ripplereplicatorsequence.motn.zip

Have fun

[Anders Larsen]

I would take a look at the “Droplet” filter. You can use multiple instances of that to create a ripple effect.

Make the array of dots by replicating a little white circle.

You will probably need to render out a flat 2D version of the ripple effect, and then bring that video back into your project in order to turn it in 3D space.

[Anders Larsen]

Four Corners will distort your spaceship if your trackpoints move in relation to each other.
You’re probably better off with a normal track, that uses two points and has Position, Scale and maybe Rotation turned on.

The Motion manual has a quite comprehensive chapter on motion tracking. Also Stephen Smith’s “Moving With Motion” has a chapter that does exactly what you are trying to do. (Only with price tags instead of spaceships)

[Anders Larsen]

See this thread:
https://forums.creativecow.net/thread/170/868057

[Anders Larsen]

I did a quick test and found a way to do it. But I have this feeling that there must be a much more elegant way to achieve what you are asking.
Here’s what I did:
– add a levels filter and under Red drag the black out up about 1/3 and the white out down about 1/3
– add a desaturate filter
– add an invert filter
– add a contrast filter, and adjust to taste

As I said, I’m sure there is a more elegant way, but this gets the job done.

My Motion file is here:
2413_flipcounttest.motn.zip

[Anders Larsen]

60fps will not get you Mythbusters-like shots.
But if there is a limited budget your client will have to understand that you can’t shoot on a 300.000$ Phantom cam.
Try doing some test to see if what you can get from your 7d is good enough.
Use a fast lens, like a 1.4 aperture or so, that will allow you to shoot with a high shutter speed, which aids the illusion of frozen time.
See if you can find something that resembles the actual shot, but doesn’t cost anything. Perhaps you can shoot ice cubes at a tiled wall to get impact and shattering – be creative.
When you have some test footage, slow it down further with software (optical flow in Motion, TimeWarp in AE, or get Twixtor) show the footage to your client and see if they like it.
In any case I’m sure everyone here would love to see your result.
Good luck, I’m sure it will be lots of fun to do.

[Anders Larsen]

A completely different approach would be to use behaviors to achieve your effect.

Keyframes vs. behaviors is a matter of preference, pick the solution you like best. if you are new to Motion the whole keyframe thing might seem a little daunting, and this fairly simple move is easily achieved using the throw behavior.

Just add “Throw” to your “1 2 3..” object, set in and out of the behavior, and adjust Y parameter of the “Throw velocity” to make it move as far as needed.
When that is done you can duplicate the behavior as many times as you need and drag the copies down the timeline to where you want the move to happen.

To me this solution seems a little less elegant tan keyframing, but it gives a better overview of what you are doing right in the timeline.

Here are a cuple of pics of what I mean:

[Anders Larsen]

When using progressive, you can’t modify the individual instances of the movement, but can “bake” the motion into keyframes by selecting “Generate keyframes”
That way you can use “Progressive” to make all the keyframes for you, so you don’t have too set each one individually.

[Anders Larsen]

In fact you only have to keyframe the first movement, then click the disclosure triangle next to the “y”-parameter and choose “After last keyframe -> Progressive”

A picture is better the 100 words, så here you can see what I mean.

happy keyframing