Motion 5 Tutorials


Since its creation in 2004, Apple Motion has been an application that has evolved quite nicely, despite the fierce competition it faces from other apps like After Effects and Nuke. In its current iteration, Motion provides the plugin architecture for Final Cut Pro X, which means that all FCPX effects are actually Motion templates. With that advantage, users can create just about anything with Motion. Below are a few tutorials where Motion users illustrate how versatile the application is for their workflows.

Creating a Transition for FCPX

This tutorial highlights one of the core features of Motion, which is the ability to create custom transitions. Gone are the days of having to stack layers and utilizing keyframes. With a decent understanding of the Motion interface and its functions, users can create unique transitions to suit their video projects. In this particular example, the author shows users how to create a ripple flash transition from start to finish. When I discovered that you can create transitions and other effects in Motion, I decided to give Motion another try after years of being an After Effects user. I found this tutorial useful because even at the basic level, you can get an understanding of how far you can go with the creation of custom effects.

Animating a Photoshop File

There will be situations where your client wants to create a spot and you have no b-roll. Even worse, you have very minimal images to work with. However, they provide you with a layered, high resolution Photoshop file which you can animate and turn into a motion graphic with a little imagination. In this tutorial, Telemundo editor Brett Gentry shows us how he was able to take a client graphic and turn it into a 30-second spot using a combo of Motion and Photoshop. Utilizing markers, keyframes, and behaviors, he takes what I call a simple “Ken Burns effect” and makes an entertaining spot for an event. I will be first to admit that the Motion interface can be daunting at first glance, but watching how others work in it so efficiently inspires me to learn more.

Creating a Auto Green Screen Keyer with Background

There are projects you receive where the talent was shot on a green screen, and you need to key them out and insert the same background. If this is no more than five people, no big deal. However, if it is multiple talents and it needs to look like they were all keyed and composited the same way, it can become tedious. In the tutorial above, Brett shows us another way he uses Motion to create an auto keyer effect, which will allow him to key not only his talent, but insert/manipulate the background he wants behind them. This is convenient when you need to cut multiple spots or short form videos and time is not on your side. This effect is also a viable solution for the scenario I mentioned above with multiple talents. If you publish enough parameters and include the necessary assets, you can save a lot of time by creating an auto keyer effect in Motion.

Text Behind Glass Effect

I’ve highlighted the effects you can create in Motion for workflow tasks like titles, transitions, and effects, but it is always interesting to see how far one can push Motion to create things you would only expect in After Effects. This tutorial above is a prime example of something I wasn’t sure Motion could create. Editor/plugin author Simon Ubsdell takes a concept that originated in After Effects and creates it from scratch in Motion. Using textures, text layers, blend modes, filters, and behaviors, Simon creates this effect which can be used for promos, documentaries, or identifiers. I have to give kudos for the content that Simon has produced as of late. I’ve always believed the reason Motion wasn’t as popular as After Effects was because of the vast community and gurus that are out there. Seeing a dedicated user showcase Motion capabilities peeks my interest to add this tool to my skill set.

Overall, Motion has matured into a intricate and versatile tool that editors should take the time to learn. The market tends to favor the After Effects user, but every now and then there are jobs for people with Motion knowledge. Knowing this tool can benefit you in the long run.

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Luca Visual FX Hi-Tech Overlays

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The team at Luca Visual FX have been working hard to bring a new product to the market that will benefit post production professionals across Mac and PC computers. It is Hi-Tech Overlays. This product line expands the alpha transitions and overlays that LVFX created in the past. This update brings a new model for users to access the elements they need at a moment’s notice. I’ve had a chance to preview the new library and had a chat with the guys of LVFX. Here are a few questions users may have.

What are Hi-Tech Overlays?

It is an alternative solution to our Hi-Tech plugins for FCPX that provides users of software such as Premiere Pro, Avid Media Composer, After Effects, Motion, and Final Cut Pro a way to build Hi-Tech mographs for promos, sci-fi, music videos, news and sport, corporate productions, and more.

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I see that you implemented a new system for the users to access the product. Tell us about it.

Yes, all mographs and images are provided in full resolution and the user will download from our web site only what they need any time they wish, right from the moment of purchase. We started working on this new way of delivering a product in December 2013 and hope to provide the easiest and most convenient way for our users to access a vast library of interchangeable mographs and images.

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Will the library be based on a subscription that you pay monthly, or is there a lifetime license?

No monthly subscriptions to pay, but only a single lifetime license that people can easily purchase on our web site. The user will receive unique and safe login details shortly after completing the payment, and will be able to download both Hi-Tech default looks of effects like holograms, displays, sci-fi mographs, fractals, etc., and individual elements to customize and combine as desired. The library also includes High-Tech Elements Vol.1.

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I have issues with Quicktime on my PC. Is it possible to get the Overlays in a different format?

All files are delivered as .mov, so as long as the user has Quicktime correctly installed everything should work correctly.

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Will there be tutorials on how to achieve the results you showed in the demo?

Yes, we have already edited four of them and more will come. They show how to customize not only the elements, but also how to combine them creatively in order to create unique looks. The first four are available on VIMEO.

If I own the FCPX templates of this product, is there a way to get access to this library to get additional elements?

Hi-Tech Overlays is essentially a cross-platform alternative to Hi-Tech for FCPX that will work with more hosts. FCPX users would find in the library what they have already in the form of FCPX templates. There are, however, several advantages in using individual layers. We also intend to expand the library and add more and more elements for our users. Should FCPX users wish to access the library in order to handle individual layers, we recommend to email with their request.

What manipulation options would allow you to get the best results with Hi-Tech Overlays (i.e color change, distortion, time remapping, etc.)?

There are tons of ways to modify the overlays. The only limit is one’s creativity. For example, with filters, the user can indeed change the color and distort (some examples can be seen on the demo) but also add glow, blur, and many other stylizations. Another way to create unique compositions is to combine individual elements taken from different categories (i.e. Holograms and sci-fi overlays or Screens and Fractals, you name it), use blend modes to create nice superimpositions and layers. Another great advantage that not even the FCPX template can offer in such extent is the use of any transition you can think of in order to create your own Build-In and Build-Out at the beginning and end of your composition. An example is shown at the very beginning of the demo where all elements come together in different ways. Possibilities are endless!

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Do these elements come with embedded alpha transparency? If they don’t, what would be the best practice for getting transparency?

Yes, absolutely, the alpha channel comes with every single element of Hi-Tech Overlays.

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Overall, I believe Hi-Tech Overlays will definitely be a product with infinite possibilities for the user. The amount of ways you can mix and match the elements will definitely draw the user to think outside the box when they apply mograph to their projects. I strongly recommend that you try experimenting with different colors and manipulation effects to see how far you can push each element. In the process, you may create a unique look that wasn’t thought of before.

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Lower Third Tutorial Round-Up

ATeam icons

Lower thirds, supers or CGs as they are also called, are those graphics you see on the screen when someone is being identified. You see them on reality television, the news, sports games, and documentaries. They usually have one to three tiers which can have the person’s first and last name at the top, and at the bottom, an occupation, residency, or position they occupy. Another characteristic of lower thirds is that they are placed in the title safe area of the screen so they don’t get cut off (these are usually network specifications). One thing about lower thirds is that they are by far the most sold item on motion graphics marketplaces. You could go to a variety of sites and look at galleries of lower thirds which you can purchase for your own videos. However, you may not always have the luxury of purchasing lower thirds, so it helps to know how to create these from scratch to keep costs down. In the three videos below, I highlight tutorials for how to create lower thirds from scratch for programs such as After Effects, Premiere Pro, and Motion. After you take a look at these videos, you can apply some of the knowledge you’ve learned and get to creating your lower third graphics.

Lower Third (After Effects) Tutorial

In this After Effects tutorial, Phil Ebiner shows us how he creates simple and clean lower thirds. As he states in the tutorial, he looks to other sites for inspiration before he starts creating. Utilizing a combination of solids, masks, and shape layers, he is able to create a lower third that would work in just about any occasion. When creating lower thirds, it takes a lot of layers to achieve the ideal look so be prepared for using precompositions, parenting, and lots of keyframes to maintain a clean and organized timeline.  What I like about this tutorial is that it has nice pacing, and within less than 20 minutes, you can have a lower third that can be used and modified to your needs. If you are using After Effects CC, you can turn this lower third into a LiveText template for use in Premiere Pro. If you aren’t as skilled in After Effects and prefer Motion instead, you can learn to create lower thirds there as well.

Lower Third (Motion 5) Tutorial

In this Motion 5 tutorial, author HalfGlassFull shows us how to create a complex lower third for broadcast. He first sets up his placeholder text layers in the position he wants. From there, he begins creating different shapes as a background for the text layers. Once he sets up the design of the lower third, he begins to implement behaviors to animate elements of the lower third to his liking. To finish it off, he shows you how to publish the lower third for use in Final Cut Pro X. Overall, this is an easy to follow tutorial and really helps reduce the learning curve that some people may have when using Motion for the first time. Also, the ease at which Motion projects can be integrated into Final Cut Pro X for multiple uses. As great as it is to create lower thirds in graphics programs like After Effects and Motion, sometimes you want the ability to do it without leaving your NLE. Let’s see how to do this in Premiere Pro.

Lower Third (Premiere Pro) Tutorial

In this Premiere Pro tutorial, VideoSchoolOnline shows us how to create modern and sleek lower thirds in Premiere Pro. Now, most people wouldn’t look to see if Premiere was capable of this, but a seasoned user would know better. Using layers in the Title Tool, they are able to create a simple two-tier lower third which identifies the talent on the screen. To give it movement, they use position keyframes with a manipulated interpolation. To keep the timeline clean, he nests the lower third into its own sequence. I can tell you from experience that creating simple lower thirds in Premiere is easy. The one caveat is when you need multiple version, it can be a real hassle to deal with, so plan ahead. Overall, it is rather easy to create a quick lower third from scratch, even if you only have your NLE to rely on.

As you can see, creating lower thirds from scratch is a fun exercise and a useful skill to have as an editor. There will be situations where purchasing one seems more viable than creating one from scratch. Depending on the project and client, it benefits you to know how to create one, but also know where to purchase one. Feel free to seek out other tutorials which show you how to create even more complex lower thirds so you can impress your clients.

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FCPX Animation Tools


I’ve been envious of the plugins that FCPX has had since its inception. The one thing that amazes me about the Final Cut Pro X ecosystem is the availability of plugins that allow you to create amazing things right inside the program; otherwise difficult in other NLEs. With effects and transitions being based on Motion templates, developers sprang out of the woodwork and seized the opportunity to offer products that would streamline the editing and motion graphics creation that a user could perform within FCPX. The creative possibilities put FCPX above most NLEs in the market. I want to highlight a selection of animation plugins from a variety of vendors which streamline user abilities to create animation inside of Final Cut Pro X



This product is a collection of self animating icons and modular elements that you can use in FCPX. Created by the team from MotionVFX, these elements are easy to combine and modify within FCPX. This product is great for doing quick infographics without having to create elements from scratch. What I like about this product is that it’s based on title layers, which offer infinite creative possibilities. There are so many parameters to modify that you don’t need to settle for default animations. This product currently comes in two different categories: Corporate and Essentials. At the price of $49 each, it’s a no brainer purchase for quick infographic based animations.

Callouts 2.0


Created by the team at Ripple Training, Callouts is a Final Cut Pro X plugin that gives you the power of emphasis to remove distractions and draw your audience’s attention exactly where you want it focused. This is a great product for projects where you have to highlight tips for training, or to emulate the pop up look from VH-1’s Pop Up video. Using the FxFactory application, you gain access to 22 callouts which can be used immediately in FCPX. Working as title based effects, you can modify the color, position, gloss, and other parameters for whichever callout you choose.

Story Pop


A new plugin to the growing FxFactory product line, Stupid Raisins’s Story Pop is a collection of over 400 animated and customizable Final Cut Pro X whiteboard style drawings designed for HD. Built to emulate the look of a cartoonist drawing characters from scratch, this animation plugin allows you to pop your story with authentic looking hand drawn whiteboard sketches. I believe this plugin is good for voiceover commercials and illustrating facts with a creative flair. I can see it used for start up companies explaining how their business model works to prospective customers.

Object Animator


Object Animator is a powerful tool that allows you to quickly add animations to any element on your timeline by simply choosing an option from a drop-down menu. Equipped with over 80 options, Object Animator can save you hours of time, helping you to avoid key-framing animations you commonly do as an editor. I like this animation quite a bit because it comes with an array of animation options that would be rather difficult to do using keyframes in FCPX. One of the biggest benefits of Object Animator is how easy it is to animate your elements onto the timeline. Equipped with axis controls, on screen controls, reflections, and more, this animation tool offers endless possibilities for achieving professional animations in very little time.



Projection allows FCPX editors to project a 2D image onto a 3D room. Then with a 3D camera, editors can pan, tilt, and dolly around their environment to observe it from unique and interesting perspectives. This animation tool is great for visual effects artists who need to create 3D backgrounds, or editors who need to project text in a 3D environment. They can take their 2D images, manipulate the paramaters, and have a 3D scene in little time. I believe this plugin is a great animation tool for FCPX users because it reduces the amount of time you would ship this out to something like AE or Motion to achieve projection mapping.

Overall, these are just a few tools that allow editors to achieve complex animations within FCPX without much hassle. I would recommend you check out each vendor for more products that may assist in your editing needs.

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Sports Motion Graphics Companies


I’m always enamored with the work that is done by those who create sports motion graphics. The time and effort it takes to bring these animations to life is incredible. From having to rotoscope athletes from games, build 3D environments with a variety of software, and tie it together to the aesthetic of a particular piece is nothing short of extraordinary. I want to share a few motion graphics companies I’ve come across who create fantastic motion graphics. Scattered across the world, the artists in these companies are responsible for creating memorable work that will be talked about for years.




Based in Los Angeles and founded in 2001, Troika is a brand consultancy and creative agency which specializes in entertainment and sports media for clients around the world. Their clients include HBO, A&E, the CW, EA Sports, the LA Lakers, and much more. They are responsible for a lot of the branding elements you may have seen on television, movie theaters, and live events. When Troika works with a brand (especially a sports brand), they add a creative and invigorating feel that leaves many in awe. The talent that this agency possesses is second to none. Take a look at the work they’ve done for Time Warner Cable and NBC Sports below.

Big Studios


Big Studios Inc. is a Canadian graphics/visual effects agency responsible for creating large scale network graphics for clients that include the NFL, MLB, CBS, and ESPN. With a talented team of over 15 people, this agency is responsible for the motion graphics you’ve seen on previous Super Bowls, as well as the graphics for Monday Night Football. You can admire their work below. I guarantee that it will leave you with envy.


Cake Studios


Based in Burbank, CA, Cake Studios s a full service creative house offering extensive experience in branding, design, animation, and management of the creative process for clients around the world. Their clients include Fox Sports, the Denver Broncos, Golf Central, and CBS. From show intros, bumpers, and overlays, Cake Studios is on top of their game with stunning motion graphics. Aside from the U.S. clients they deal with, Cake Studios has also produced content for clients across the world. Take a look at their amazing work here.




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PhotoElectric is one of the newer post production houses that specializes in sports motion graphics. Founded in 2011 and based in South Carolina, they have done work for Fox Sports, ESPN, the Carolina Panthers, and the NHL. Comprised of a team of four talented individuals, along with freelancers, PhotoElectric have been able to create show packages, show intros, commercial spots, and more. Although they’ve only been around for three years, the combined amount of experience in this group is about 30 years. Check out their exciting work below.


I strongly recommend you check out each of these companies out on their websites, as well as Vimeo. You can also look at other companies through Graphics Mafia, which showcases the work of sports motion graphics artists. It’s companies like these that I turn to get inspired on my work, and I’m sure you will find yourself in awe, as well as inspired, once you see what they each offer.

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Advanced Photo Animation Techniques

A Team NLE

How many times have you been involved in an edit where there are more photos than b-roll? I’ve been in that situation more times than I can count. The quick “pan and zoom effect” (aka the “Ken Burns effect”) seems to do the job. However, applying this technique to a handful of photos would quickly get boring and repetitive. For this reason, I’ve searched for new techniques I can use when I’m presented with a photo heavy project. These techniques include the Cinemagraph effect, 2.5D effect, and camera mapping effect. For these techniques, you can perform them in a range of applications such as After Effects, Motion, and Cinema 4D.

Cinemagraph Effect

A cinemagraph is a photo animation in which minor and repeated movement occurs. These are usually created by taking still photos and video recording them performing a certain activity (i.e blowing bubbles or dancing) so that it can be composed into a seamless loop of sequential frames. Below is an example of what a cinemagraph looks like. This term came to fruition back in 2011 when photographers Kevin Burg and Jamie Beck were using the technique to animate fashion and newspaper photos.

The folks of Vox Lab explain how to create a cinemagraph in the tutorial below. They demonstrate on a video clip of a class in session.

Under the right conditions and with proper planning, the cinemagraph is definitely a technique that can come in handy when you want to add some unique motion to your photos.

The 2.5D Effect

This effect goes by many names, such as Kid Stays in Picture, Dimensional Stills, and Parallax effect. Whatever you may choose to call it, it involves extracting portions of your image which can later be animated in 3D space to give the illusion of motion. The one thing about this technique is the amount of work necessary to extract portions of your image. Some images are easier than others, but when you properly extract portions of your image, animating it will be easier depending on how far you plan to go with it. Below is an example of what it looks like when animated.

In the tutorial below, photographer Joe Fellows shows you how to create the 2.5D effect. His technique goes a bit further than the example above, but it definitely adds more life to the photo than a simple pan and zoom.

The folks of Cineflare offer a plugin called Pop Out that helps speed the process of creating this effect. You can check it out below.

Camera Mapping Effect

Camera mapping is similar to the 2.5D effect, but the difference is this technique uses projection. With camera mapping, you can project an image or video onto a screen and give the illusion of depth by using zooming and angles. In the breakdown below, you see how the creator is able to take an image that originated in 2D, and by using multiple techniques essential to camera mapping, they were able to create the illusion of depth.

In this tutorial below, mograph artist Casey Latiolais shows us how to add some life into a simple 2D image by camera mapping in Cinema 4D. These techniques allow the 2D image he is using to have a much more life-like appearance than before.

Overall, there are lots of techniques available for animating photos that can help invigorate your projects. You don’t have to settle for the simple Ken Burns technique for every photo, and if you put in the proper preparation, you can create some stunning animations. Feel free to try any of these techniques the next time you are presented with a barrage of photos.

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AE Animation Plugins & Scripts


One of the many things I love about After Effects is how large its ecosystem is. Out of all the compositing applications I’ve come across, no application has as many resources or add-ons than After Effects. This is especially true when it comes to the tools available for creating animations. Many long-time users of AE know of the motion parameters used to create animations that are simple and complex. However, when time isn’t always on your side and you need to create stunning animations quickly, look no further than these offering of animation tools.


From the talented folks of Ebberts and Zucker, these three animation assistants allow you to create animations involving kinetic typography, camera moves between 3D layers, and more.


LayerMonkey is a script that arranges and animates your composition’s layers in time and space. It also creates a parented camera and generates a master control layer that makes timing and global adjustments a piece of cake. To see what this script is capable of, take a look at the demo below:



TypeMonkey is a script meant to simplify the process of creating kinetic typography. According to the features description, it can create random kinetic type layouts based on parameters entered into the control panel. It also allows for keyframeless timelines to make changes to timing as simple as sliding a marker, and distributes words evenly over the length of the composition or work area. See what it can do in the demo below:



MotionMonkey is the other animation script that allows you to animate very complex designs and layers in a matter of seconds. It can create a wide range of animations of your layered designs based on parameters entered into the control panel. It works with most layers including text, stills, video, pre-comps, solids, shapes, .ai, .psd, nulls, and parented layers. Another fun thing about this script is how it interacts with VideoCoPilot’s Element 3D. In the demo and Element 3D tutorial below, you can witness the power and ease this script offers:

Overall, I believe these three scripts are must haves for increasing the speed which you are able to crank out complex animations in a short time frame.

Duik Tools


These tools are essential if you want to rig and animate characters in After Effects. Utilizing the concept of inverse kinematics, Duik Tools simplifies the process by rigging the character of your choice with controllers on various body parts. These tools include an inverse kinematics tool, bones and puppet tool, autorig, animation tools, and more. The best part about these sets of tools is that they are free, so you definitely want to have this as part of your arsenal for those character animations you may get down the line.



This plugin is the creation of AE guru and VFX artist Andrew Kramer. It allows you to control the After Effects camera and move between layers in 3D space with ease. Included as part of the functions of this plugin is the ability to wiggle, auto rotate, dolly, and roll the AE camera. This plugin originally started as a preset, but soon became a fully functional and much respected plugin. I’ve personally used this camera animation plugin on numerous occasions, and can say that it gets the job done. You can witness the power of this plugin by watching this tutorial below:

If you are looking for animation tools or plugins that allow you to be a fast animator in After Effects, look no further than this collection. These tools definitely help users create complex animations that need to be done as soon as possible. These options won’t disappoint.

Red Giant Universe


As a plugin enthusiast, I have always been a fan of the offerings of Red Giant Software. They have industry standard plugins in color correction, particles, lens flares, motion graphics, workflow tools, and much more. Another great thing is that the people behind the products are working veterans themselves; such as Aharon Rabinowitz, Harry Frank, Seth Worley, Simon Walker, and Stu Maschwitz. The tutorials they provide are top notch as well as the promos they create. With NAB around the corner, Red Giant is releasing new products under a subscription based model called Universe. Check out the trailer below to learn more.

Universe is a subscription based community where users will have access to free and premium plugins. These plugins are power-based on the GPU of your computer, and offer near-real time quality. They operate from a tool known as Supernova. According to plugin developer Alex4D, Supernova is a development system that uses a javascript-like scripting language to access the Red Giant Universe Library; a collection of image processing libraries whose code is combined together to make cross-platform Universe plugins. Learn more about Supernova below.

While the concept of a subscription model may sound familiar as with the Adobe Creative Cloud, the folks at Red Giant software put a lot of thought and care into how this community would work so it would be something that everyone can partake in. As of this writing, Red Giant is offering a public beta and will probably change things in the coming weeks. There are four plans that are currently on their site. You can sign up for a free membership, which lasts forever, and gives you access to 31 free plugins and more. The next membership is a monthly plan of $10 a month which gives you access to 31 free plugins, 8 premium plugins, and more. The third membership is a yearly plan of $99 annually. It contains the same features of the monthly plan, but at a discounted rate. So instead of paying $120 over a one year period, you pay $99 upfront for the year. You can also choose to pay $399 for a lifetime subscription plan where you never have to worry about monthly or annual fees.

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The plugin offerings are quite incredible on both the free and the premium side. One premium plugin that stood out to me was the revamped HoloMatrix. This was created by Aharon Rabinowitz to reduce the steps it takes to create holograms. Originally, it worked more as an After Effects script with presets available to change the look. Now, it functions fully as a plugin, but is much more responsive. Take a look at the tutorial below how HoloMatrix works now.

One of the free plugin categories that stood out to me were the glows. I’ve played with many third party glow plugins, and while they each have their strengths and weaknesses, I found these glows to be very responsive to parameter change and easy to process, thanks in part to Supernova programming. Overall, I’m extremely excited for Red Giant Universe. I believe it will definitely be a game changer in the plugin industry and will set the bar for how plugins are created and delivered to the masses. I really appreciate the fact that Red Giant took the cloud concept and made it work for everyone. It’s also cool that they offer a strong array of free plugins under the lifetime free membership option, which I’ll be using quite often. I’m the NLE Ninja with AudioMicro asking you to stay creative.

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Sliding Page Transition in Premiere Pro

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One of the many things that amazes and intrigues me are the animations that you can find in commonly used devices. Everything from your smartphone, computer and gaming system provide unique ways of navigating their respective interfaces. One of the animations I enjoy seeing on my iPhone is the new page animation when using Safari. The current page you are on will scale down, shift to the left and a new page will come in and take over the screen. I’m going to show you how to create that animation in Premiere. A transition like this exists within the FxFactory collection so check that out if you want to add that to your arsenal.

In Premiere Pro, I have a 1080p timeline with 2 clips on top of each other

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I’m going to set up the animation for the clip on Track 2. Let’s move 15 frames into the clip. Next, set a keyframe for scale at 100. Move 10 frames forward and change the value to 75 on the scale parameter.

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Before we move it offscreen to the left, let’s scale and position our clip on Track 1. I’ll scale it down to 75 as well and position it so there is a small gap between the clips.

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Let’s animate our clip on Track 2 offscreen to the left. I’ll set a keyframe for position about 5 frames from my last scale keyframe at its default value. Move 10 frames forward and position the clip until only a small piece remains on screen.

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Go back to the first position keyframe. Highlight the clip on Track 1. Set a keyframe for position at its current value. Move 10 frames forward and change the value to its default position.

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Move 10 frames forward. Set a keyframe for scale at its current value of 75. Move 10 frames forward change the scale back to 100.

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I’ll add a Solid Composite filter to both clips. For the clip on Track 2, change the blending mode to multiply. Set a keyframe for opacity at 45 where the last scale keyframe is at. Move back 5 frames and set another keyframe with a value of 0. Copy the filter. Move to the clip on Track 1. Paste the Solid Composite filter. Delete the keyframes for opacity leaving it with a value of 45.

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This next step is crucial to sell the animation. Move the playhead 3 frames forward from the last position keyframe on Track 2. Make an edit. Place the clip on Track 1 on Track 2 and the clip on Track 2 on Track 1.

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With the playhead at the edit point, set a keyframe for opacity in the Solid Composite filter. Move 5 frames forward and change the value to 0.

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One thing before we proceed. Change all keyframes you set to Auto Bezier to get a smoother animation.

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The final piece of the puzzle is a gradient background. Highlight your clips and move them one track up. Create a gradient background in the Title Tool or use a gradient from Photoshop. Place the gradient on Track 1 and make sure it’s the length of your clips.

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This is what the final result looks like.

That’s how you make this over and under transition in Premiere Pro. As I said before, this is based on a transition from Noise Industries which is available for Premiere Pro CS6 on Mac. Try this out and see if you can take it a step further. I’m the NLE Ninja with AudioMicro asking you to stay creative.