That’s useful both in the context of Motion itself, and as a means of exporting smart templates and interactive visual materials to FCP X. (Most audio control hardware transmits standard MIDI messages, so you could, for instance, assign the level of an effect to a knob or key on a keyboard.) What Apple has added to Motion 5 is the ability to encapsulate selected controls into dynamic parameter rigs, controlling many elements at one time. By combining behaviors, generators, and filters graphically-spreading them out across the timeline, and adjusting parameters on the fly-it’s possible to build more complex structures.Īs before, any slider, anywhere-from a crop control in an image to the amount of a filter blur-can be manipulated or controlled with keyframes, audio, and even MIDI controllers. Motion’s approach is visual rather than textual, but it should not be discounted. Apple has also bundled a vast library of preset content.Īdvanced After Effects users will often (rightfully) praise the Expression scripting language, which allows users open-ended extensibility by enabling advanced motion behaviors in code. There’s a powerful, intuitive replicator and particle generator that with After Effects, for instance, would require a third-party add-on. 3D compositing includes the ability to quickly rig up a scene with depth, then add movement simply by dragging and dropping simple motion behaviors. You get sophisticated, easy-to-use match move and motion analysis and stabilization features, inherited from Apple’s high-end (and now defunct) Shake product. While it lacks the open-ended code extensibility of After Effects, in its place you can combine series of behaviors and other elements, for a visual equivalent to coding.As before, Apple also bundles a great deal of functionality and content in the box. The heart and soul of Motion remains its extensive library of content. Finally, add filters, generators (covering a range of visual sources), and movement behaviors, and watch as your composition updates in real time. Next, hit the play button you’ll likely want to leave everything in Motion looping all the time so you can see immediate results. It supports PDF import, but Motion retains its own independent crop settings, so you can’t simply crop a PDF externally. First, drop in some media-Motion supports PDF, still images, video, and Photoshop PSD with layers, though not EPS (Encapsulated PostScript). Wrap your head around the workflow, and Motion is, above all else, quick to use. The idea is not to choreograph elaborate, planned-out visuals and then see how they look, but to constantly experiment and tweak as the motion plays. However, Motion is a different kind of motion graphics program, one that emphasizes playing with parameters live and in real-time. The natural impulse is to compare Motion to other tools, like Adobe’sĪfter Effects ( ), that produce motion graphics and add dynamic visuals to video. It also grants you the same capabilities Apple had when generating its Final Cut presets. The ability to “publish” certain parameters when exporting filters, generators, titles, and transitions back to Final Cut Pro X gives you live manipulation of these elements in Final Cut without re-rendering, or switching to Motion. Users of previous versions will likely find everything within a couple of minutes, and Motion has never been more usable on a lower-resolution laptop display. Motion’s transformation, though, is far less radical aesthetic adjustments aside, it mainly serves to consolidate settings into panes. On the compositing side, Apple has added greatly improved chroma keying.įinally, as with FCP X, Motion 5 has also gotten a shiny interface remake. With Final Cut integration, it’s possible to produce transitions, titles, and generators that editors can reuse in Final Cut, especially useful for producing consistent in-house templates. You can combine parameters into rigs to consolidate live control of your compositions, and then publish those controls to smart templates and FCP X. You can now take advantage of resolution independence-ideal for targeting multiple formats. More visible are other subtle but significant enhancements to functionality and control. These changes cover the whole tool, from plug-ins to effects to rendering. As with FCP X and Compressor 4, there’s also support for ColorSync color management, and a shared render engine. The engine, now rewritten in Cocoa, incorporates OpenCL support for accelerating computation on compatible graphics cards, 64-bit architecture for optimized computation and access to greater memory resources, and support for Grand Central Dispatch multithreading technologies-all of which combine to help you squeeze the most out of your available hardware. Motion, like FCP X, includes changes both visible and under-the-hood.
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