Motion Magic in Under 5 Minutes:  Using Vector Graphics in Motion

Motion Magic in Under 5 Minutes: Using Vector Graphics in Motion


In this lesson, I want to animate some vector artwork. So here I have an encapsulated post script
file .eps that is opened in Adobe illustrator’s vector editing application. As with the photograph, I want to create separate
layers, however this time I don’t have an issue with cloning in a background. If I turn off the visibility of some of these
layers we can see that each layer is complete in and of its self. Another option for exporting is doing so in
order to preserve the vector nature of this artwork. Doing so means that we have a lot more flexibility
with resolution in Motion however there are some other disadvantages, so in order to export
these layers, you may think you can just turn off the visibility of the layers you don’t
want and export. But that will not work. In order to export just a specific layer or object,
you need to delete all the rest of the objects out of the image. So I’m going to start with this sign. I’m going to select it by clicking this target,
which we’ll select everything within this group here. Then from the Select menu, I’ll choose Inverse,
to select everything else and then press the delete key. Which leaves us with just this sign, just everything in this group here. From here from the File menu, I’m going to
go down to Save a Copy. This will create a copy of my work with just
this element. I’ll call it Banner. In this case, I’m not able to check the Use
Artboards checkbox. We’ll see the impact on that in a moment. And I’ll press Save. I’ll use all the defaults here and press OK. And then Command+”z” to undo. And simply repeat that same process. So you can save your separate vector layers
as vector objects in the .ai or .pdf formats. So here I have a folder that contains our
.pdf files which are vector images. So I’ll select them all and drag them into
this new Motion project. And first we can see they’re very small by
default. Let’s also take this sign and put it at the
top so we can see it. If we go to the Inspector in Properties, we
can see it’s 100% Scale. Notice also each of these has it’s own Anchor
Point that isn’t necessarily in the center of composition. In other words, we’ve lost our overall composition
layout of each of these elements. And if we reposition them to where they belong,
it’s Anchor Point will not be centered in the composition. So it will require moving those Anchor Points. However one benefit of working with these
vector objects is this. I’m going to drag a corner with the shift
and option keys held down in order to scale proportionately around the Anchor Point. Notice as it gets very large, it gets very
blurry. In the Inspector we can see it’s over 2000%. But because it’s a vector object, we can go
to the Media tab here. Select the underlying media. And then in the Inspector, it has it’s own
Media tab and we can see a checkbox for Fixed Resolution. Which is checked or enabled by default in
order to have the best possible performance. But if we uncheck that checkbox, then this
object will do something called continuously rasterize. So it gets redrawn at every scale so we can make
it as big as we want and it will still remain crisp and clear. I’ll back to the Layers menu and select it
and then in the Properties Inspector, I’ll scale it up even larger. So now we’re over 4000% and we can still see
it’s nice and crisp. So that’s the advantage of working with vector
objects in this case saved as .pdf files. If you want to do a move or zoom very close
and move through them, it’s a great way to work with them. Click the Subscribe button below. If you have an idea, comment, or suggestion,
leave those below as well. Go to RippleTraining.com for fast, professional
training on Final Cut Pro, Motion, and DaVinci Resolve from industry professionals.

Dereck Turner

7 thoughts on “Motion Magic in Under 5 Minutes: Using Vector Graphics in Motion

  1. POST-PROfessionals - Robin S. Kurz says:

    Simply drawing a box around everything in Illustrator and including that with each exported layer will keep your original composition in tact when imported in Motion, with no guessing/repositioning required. 😉

  2. Scott Wagoner says:

    After watching this video (and several others you've made) I'm fascinated with creating vector art and animating it in Motion. I'd love to see more about this. I've studied the camera move you've performed at the conclusion of this video, and I've figured out how to perform something similar on my projects but there might be something I'm missing. Is there any advantage to animating the position of the art? Or is it best to stick with animating the camera? Any tricks or tips? Thanks. Love the video series.

  3. Daniel Suzuki says:

    I wish someone with scripting knowledge would make a tool to simplify this process.

  4. Edward Bruce-Radcliffe says:

    If you have the ear of Apple, please for love of productivity, ask them to support layered illustrator files. I am glued to after effects because the motion graphics work i do revolves around illustrator files. When you have 30 plus layers (objects), this is tedious. Please please please tell them to resolve this.

  5. Michael Schultze says:

    Thats what i wanted to know. It's so easy ;-). Thanks!!!
    But, is the possible to have one Motion 5 file where i can have all my logos / icons to "export" only that object i need for the moment?

  6. Alex Metslov says:

    I have a technical question: is it possible to create new moving picture format, based on vector graphics?
    I would imagine that cartoons, like Simpsons, could be redrawn in vector. And if that format would exist, there would be no question regarding resolution of the TV screen.

    Maybe somebody can point me out to work in this direction?

  7. Daniel Schoenell says:

    Ok but how can I do to have all the elements at the same position of the initial art? Instead of repositioning every part that maybe can discaracterize a client logo for example

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