Doyle Rockwell
Forum Replies Created
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Howdy,
The topmost enabled camera (i.e. not turned off) in the Layers List or Timeline on any given frame is considered the “active” camera. This allows for cuts between cameras, but it also means you need to disable extraneous cameras if they are on top of your desired export camera.
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Howdy,
Is your shape from Photoshop 100% white, i.e. RGB=255,255,255? Tint multiplies with the image’s existing color values, so if the image is pure white, it will have no effect. If you want to remap the white to something else, you might want to try the Colorize filter.
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Howdy,
Quadros are pretty much designed to accelerate specific industrial design apps like AutoCAD, which doesn’t even run on the Mac. Historically, they have been poor performers on the kind of tasks that Motion does. The ATI 4870 costs a fraction of the price and does as well or better. Bare Feats has some benchmarks here: https://www.barefeats.com/nehal10.html
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Howdy,
I think the idea is that wipes, which are a very editorial-type task, are something usually done during editing, i.e. in FCP.
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Howdy,
From what I’ve played with, it looks like you can individually transform glyphs, statically, via keyframes or via the Sequence Text behavior. You can do it independently to the Face, Outline, Glow, etc, as well as controlling skew per each.
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Howdy,
The ‘Add Keyframe’ menu item is based on the last-adjusted parameter type, so if you haven’t just tweaked a keyframeable parameter, the menu item is disabled. For example, if you drag an object into some position, you’ve now adjusted the Position parameter of the object, and the menu item will now say ‘Add Position Keyframe’. It’s not really supposed to be an all-purpose keyframing command, but it’s handy when you change something and then want to set a keyframe hitting the keyboard combo.
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Howdy,
If you’re referring to an object that has a position in 3D space but always faces the camera, you can achieve that by applying the Point At behavior to the object. In the behavior’s settings, set the camera as the target and set the Transition value to 0% (which means that it won’t turn to the camera over time, but immediately/always be facing the camera).
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Howdy,
One method: Draw a shape, use it as the source for an Image Mask of your element, dupe the shape, turn off Fill and turn on Outline for the dupe, and Bob’s your uncle. If you make any changes to the original shape (the source of the mask) you’ll need to do the same for the the dupe, but this method will give you total control of the look of your border.
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Howdy,
While you can always manually add keyframes from the little animation menus in the Inspector, if you’re on a frame that doesn’t already have a keyframe, you’ll need to turn on Record (the red button to the left of the Play button). This tells Motion to set keyframes for anything you change while Record is active.
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Howdy,
Excellent question! Accomplishing this is pretty easy with the Motion Path behavior. This applies, by the way, to any positional-animation scenario, not just your particle emitter. In brief: you draw a shape (in Motion) that will indicate your animation path, you apply the Motion Path behavior to your emitter, and you tell the behavior to use the shape for the animation. So…
1. Use the shape tool (B) to draw your desired animation path (bezier, b-splines, whatever).
2. Apply the Motion Path behavior to your emitter.
3. With the Motion Path behavior selected, go to the Inspector and view the Behaviors tab. Set the Path Shape popup to ‘Geometry’.
4. Drag-and-drop the shape you drew in Step 1 into the Shape Source image-well that is now visible in the Inspector (or you can pick any shape object in the project from the little ‘To’ popup menu that is next to the image-well).Now your emitter will move along the shape’s path over the duration of the behavior. Want to change the path? Go ahead and edit the shape. Want it to be faster or slower? Change the behavior’s duration. You can also change the behavior’s Speed popup to get Ease In/Out, and such. No keyframes required.
Bonus Round
This last bit is a power-user tip of the sort that we used to pay Brian Maffitt $600 for on the Total Training AE tapes: the ‘Custom’ option in the Motion Path behavior’s Speed popup menu. When you pick ‘Custom’, a new Custom Speed parameter is revealed, which goes from 0-100% and has two default keyframes on it, at the beginning and end of the behavior. Think of this as the “completion” value of the behavior on any given frame. So the default is that it animates from 0 to 100% over the behavior’s duration, but you can view this curve in the Keyframe Editor, giving you sick control over the animation’s progress, including stuff like reversals, etc. So if you want the behavior to cruise along for 60 frames and then hold for a bit, then reverse its progress, then surge ahead, you can keyframe that with one simple speed curve. Then you tell your client how you had to move the Earth and the Moon to do it all in so little time 🙂