Andy Neil
Forum Replies Created
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What I’d do is keep make the Motion path behavior last the length of the layer. Then, using the custom speed setting, stop the move where you want. As long as the motion path behavior is on the layer, the snap function will work.
Andy
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In specific, what objects? Some motion content has a fixed length which, when added, may extend past the project end. However, behaviors when applied, are only ever as long as the layer they are applied to. The exception to this are some of the text effects which are a specific length no matter the length of the layer.
Still, if you’re adding captured media into Motion rather than using the send to Motion command in FCP, then the layer will be the length of the overall media. If you don’t want that, hit O on the keyboard to trim the out point wherever you’d like.
Andy
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While there are particle systems that specialize in liquids, your best option is to start with a practical effect that you adjust and composite in Motion. It will ultimately be the most realistic.
I would get a liquid that is similar to oil in viscosity (maybe agave syrup) and color it how you want. Then pour it over a sheet made from a solid color (I’d choose white) so that you can key out the result. Remember, if you are planning on having this oil come out of someone’s eyes, then you have to take into consideration the topography of a human head.
Then key out your footage in Motion and composite it to your bkg plate.
Andy
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Mark is suggesting that you do not animate the second sequence text behavior.
If you set the Traversal to Custom, then a location slider appears below the Traversal. It should be set to 0. Just leave it there.
Then add the Opacity parameter to the behavior and set it to 0 or close to 0. Adjust the spread so that each square has a varying opacity set to it. Because you’re not animating the Location parameter, the squares will just have that as a set opacity level.
Andy
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Masks are pretty simple. You select either the shape mask or bezier mask tool (located in the toolbar). Then you draw on the layer you are masking. When you complete the mask, whatever is inside the bounds of your drawn mask will be visible, all else will be transparent.
In the mask tab of the inspector, you can invert the mask so that the inside elements are transparent and the outside is opaque.
Those are the basics. Probably enough to get you started. You could probably google an After Effects tutorial on creating masks and apply it to Motion since they both have similar workflows.
Andy
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The way Motion handles hi-rez Photoshop files has a lot to do with your gfx card. The better the card, the higher rez you can work with in Motion.
Andy
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If you drastically changed the overall size of your image, then you have to manually update the animation.
If your PSD had jagged edges in Motion, then the image was likely way too small to begin with.
Andy
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Clones will mimic some things of the original but not others. How are you animating the original? Did you complete the animation before making the clone? Are you using Motion 3 (because reflections are much simpler in Motion 4)?
Andy
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You could always start with the masked texture, and then replicate it and arrange the replicator so that the textures are essentially tiling into your “floor”.
Andy
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“i have copied a text layer about 18x and done the same with an active camera.”
You copied a camera 18 times? What for?
Andy