Apple Motion 2 Bedienungsanleitung

Motion 2User Manual

10 Preface Motion 2 Documentation and Resources Links in the body of the access page provide an additional way to locate important help and other d

100 Chapter 1 Getting To Know Motion In addition to the common parameter control types listed above, there are several other controls that are wide

Chapter 1 Getting To Know Motion 101 Library Presets: Some parameter settings such as Gradients and Type Styles are so complex that they are commo

102 Chapter 1 Getting To Know Motion Click the Animation menu to display a pop-up menu filled with animation controls. Enable/Disable Animation: R

Chapter 1 Getting To Know Motion 103 Inspector TabsThe parameters in the Inspector are grouped into four categories. Properties: This tab contains

104 Chapter 1 Getting To Know Motion • Mask: Appears when a mask object is selected. The only keyframeable attribute is the Feather (softness) par

Chapter 1 Getting To Know Motion 105 The DashboardThe Dashboard is one of the most versatile and handy tools in the Motion interface. It is a dynam

106 Chapter 1 Getting To Know Motion Choosing Control SetsThe Dashboard can show a variety of controls, even for a single object. For example, if y

Chapter 1 Getting To Know Motion 107 To jump to the Inspector from the Dashboard:mClick the Inspector icon (“i”) in the upper-right corner of the D

108 Chapter 1 Getting To Know Motion Open Last Project(s): Any projects that were open when the program was last quit are reopened. This allows a

Chapter 1 Getting To Know Motion 109 LiveFontsThese settings determine how LiveFonts are cached (stored) by Motion. Cache intermediate LiveFont siz

Preface Motion 2 Documentation and Resources 11 Because Motion is a creative tool, documentation can only go so far in describing its potential. Th

110 Chapter 1 Getting To Know Motion Thumbnail PreviewThe thumbnails that appear in the Utility window can provide helpful information about the ob

Chapter 1 Getting To Know Motion 111 Display Color As: Choose among three styles for displaying the color data.• RGB: This setting displays the r

112 Chapter 1 Getting To Know Motion Project Duration: Sets the default duration for new projects. You can type a number into the value field in e

Chapter 1 Getting To Know Motion 113 Note: For more information on the differences between the Large Still options, see “Using High Resolution Sti

114 Chapter 1 Getting To Know Motion To store auto-saved projects in a specific location:1 Choose Motion > Preferences (or press Command+,).2 Cl

Chapter 1 Getting To Know Motion 115 CanvasThis pane contains settings to customize your Canvas view.BackgroundThis setting allows you to choose a

116 Chapter 1 Getting To Know Motion Ruler Location: This pop-up menu sets the position of the ruler in the Canvas. Choose from Top Left, Bottom L

Chapter 1 Getting To Know Motion 117 OutputThe Output Preferences pane tells Motion to render the contents of the Canvas out to a video deck or mon

118 Chapter 1 Getting To Know Motion Note: For example, a 720p frame (1280 x 720) showing in raw mode on an 800 x 600 display only shows 800 x 600

Chapter 1 Getting To Know Motion 119 PresetsThe Presets Preferences pane contains presets for both project settings and export settings. In this pa

12 Preface Motion 2 Documentation and Resources Create Support ProfileThis option generates a special file describing the technical details about y

120 Chapter 1 Getting To Know Motion Editing PresetsTo make changes to a preset, click the Edit button to open the Project Preset Editor and enter

Chapter 1 Getting To Know Motion 121 The Export Options DialogWhen you double-click an export preset, the Export Options dialog opens. This is wher

122 Chapter 1 Getting To Know Motion Add spaces: When generating image sequences, clicking the Add Spaces checkbox causes extra spaces to be added

Chapter 1 Getting To Know Motion 123 GesturesThe Gestures Preferences pane contains settings pertaining to using a tablet to control Motion.You can

124 Chapter 1 Getting To Know Motion MenusThe Motion menu bar provides access to nearly every control in the application. Many menu items are conte

Chapter 1 Getting To Know Motion 125 The File MenuThis menu contains functions and commands that deal with files on your disk that are associated w

126 Chapter 1 Getting To Know Motion Export using Compressor: Outputs your current project to a file on disk using Compressor to make MPEG 2, MPEG

Chapter 1 Getting To Know Motion 127 Delete: Removes the current selected object. In the Timeline, Delete leaves a gap where the object was (Delet

128 Chapter 1 Getting To Know Motion Mark In: This command does two different things. If no object is selected, it sets the beginning frame of the

Chapter 1 Getting To Know Motion 129 Recording Options: Opens the Recording Options dialog where you can set the granularity of keyframe recording

Preface Motion 2 Documentation and Resources 13 http://www.apple.com/creativeThis website provides news, information, and other resources on semina

130 Chapter 1 Getting To Know Motion Selection: Renders the range of time occupied by the selected objects and stores the frames in RAM. Once the

Chapter 1 Getting To Know Motion 131 Align Vertical Centers: Lines up the selected objects on their vertical center points.Distribute Lefts: Spre

132 Chapter 1 Getting To Know Motion Add Image Mask: Adds a mask to the selected object (Shift+Command+M). Convert to Keyframes: This command can

Chapter 1 Getting To Know Motion 133 Correct for Aspect Ratio: Adjusts the display of the Canvas to simulate the non-square pixels that appear on

134 Chapter 1 Getting To Know Motion Field Rendering: Turns off field rendering to improve performance. When field rendering is enabled, a checkma

Chapter 1 Getting To Know Motion 135 Lines: Turns the display of object border lines on and off. Handles must also be turned on in order to view l

136 Chapter 1 Getting To Know Motion The Layouts SubmenuThis submenu is where you can choose from existing window layouts. Choose one of the layout

Chapter 1 Getting To Know Motion 137 Keyframe Editor: Toggles the display of the Keyframe Editor. If the Timing pane is not visible, this command

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2 1392 Creating and Managing ProjectsLearn how to create, save, and manage project files. In addition, learn how different kinds of objects are p

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140 Chapter 2 Creating and Managing Projects Each project has a single group of project properties that define the duration of the project, the siz

Chapter 2 Creating and Managing Projects 141 Create New Project: Opens the Select Project Preset window, allowing you to pick a preset to use to c

142 Chapter 2 Creating and Managing Projects 2 When the Template Browser appears, use the Show pop-up menu to see templates that have been optimize

Chapter 2 Creating and Managing Projects 143 Since you can have as many open project files in Motion as the amount of RAM in your computer supports

144 Chapter 2 Creating and Managing Projects The General TabThe General tab allows you to define the most essential properties of the project you’r

Chapter 2 Creating and Managing Projects 145 A grayscale image comprises image pixels with 256 levels of gray. Each pixel requires 8 bits to repres

146 Chapter 2 Creating and Managing Projects Pixel Aspect Ratio: Defines whether the project is created using square or nonsquare pixels. Computer

Chapter 2 Creating and Managing Projects 147 The Render Settings TabThe Render Settings tab contains parameters that affect how Motion renders the

148 Chapter 2 Creating and Managing Projects The following image shows a shape that has been keyframed to move quickly across the Canvas horizontal

Chapter 2 Creating and Managing Projects 149 • Normal: The default method, Normal is a fairly quick way to render high-quality transformation effe

1 151 Getting To Know MotionThis chapter introduces you to the basic concepts of motion graphics and the Motion interface. It also describes how

150 Chapter 2 Creating and Managing Projects Creating, Editing, and Deleting PresetsIf you commonly create projects using custom settings that don’

Chapter 2 Creating and Managing Projects 151 • Enter a frame size into the Width and Height fields.• Choose a Pixel Aspect Ratio, Field Order, and

152 Chapter 2 Creating and Managing Projects Moving Presets Between ComputersEach preset you create is saved as a separate file. If you’ve created

Chapter 2 Creating and Managing Projects 153 To save a duplicate of a project:1 Choose File > Save As (or press Shift+Command+S).The Save As she

154 Chapter 2 Creating and Managing Projects To set a new location for the Autosave vault:mClick Choose and select a new location in the sheet.To r

Chapter 2 Creating and Managing Projects 155 To open one or more project files in the Finder, do one of the following:mDouble-click a Motion projec

156 Chapter 2 Creating and Managing Projects To clear the Open Recent submenu:mChoose File > Open Recent > Clear Menu.Closing ProjectsYou can

Chapter 2 Creating and Managing Projects 157 Note: If you move a project to another computer, its media may go offline even though you’ve moved it

158 Chapter 2 Creating and Managing Projects It’s important to understand that changing the size of the Canvas in no way changes the size or positi

Chapter 2 Creating and Managing Projects 159 Navigation Controls in the File BrowserFile Browser Sidebar: This area of the File Browser displays a

16 Chapter 1 Getting To Know Motion Design ToolsGraphic designers have been using software to facilitate their work for many years. Motion has inco

160 Chapter 2 Creating and Managing Projects File stack: Located beneath the File Browser Sidebar, the file stack displays all the files and folde

Chapter 2 Creating and Managing Projects 161 Folders in this list can be opened hierarchically, using the disclosure triangle to the left of each f

162 Chapter 2 Creating and Managing Projects Different Methods of Browsing, Searching, and Previewing FilesThis section contains procedures you can

Chapter 2 Creating and Managing Projects 163 To clear the search results:mClick the Clear button at the far right of the Search field to restore th

164 Chapter 2 Creating and Managing Projects QuickTime MoviesMotion supports QuickTime movies using any codec currently installed on your computer.

Chapter 2 Creating and Managing Projects 165 Using High Resolution Still ImagesA common and effective use of still images in motion graphics work i

166 Chapter 2 Creating and Managing Projects In the following example, an 1146 x 756 image is imported into an NTSC D1 project (720 x 486) with Do

Chapter 2 Creating and Managing Projects 167 The image is scaled—the equivalent of using the Transform tool to scale down the image in the Canvas w

168 Chapter 2 Creating and Managing Projects Note: The Down-Res to Canvas Size option is the best choice for optimizing your process time. When yo

Chapter 2 Creating and Managing Projects 169 Still Image DurationWhen you first import a still image into your project, it assumes a duration equal

Chapter 1 Getting To Know Motion 17 Unique ToolsAs the field of motion graphics design has evolved, the tool sets in the most common applications h

170 Chapter 2 Creating and Managing Projects Note: You can turn this feature off in case you have numbered image files that aren’t supposed to be

Chapter 2 Creating and Managing Projects 171 The practical difference between bitmap files and PostScript-based files is that scaling a bitmap beyo

172 Chapter 2 Creating and Managing Projects Mixed Content Within PDF FilesAlthough PDF files can simultaneously contain PostScript-based art, Post

Chapter 2 Creating and Managing Projects 173 Audio FilesYou can import different audio file formats into your project, including but not limited to

174 Chapter 2 Creating and Managing Projects From within Motion, you can select an audio file and open Soundtrack Pro to modify the audio file. Onc

Chapter 2 Creating and Managing Projects 175 Unlike applications such as iMovie HD, where sections you remove from clips are also deleted from disk

176 Chapter 2 Creating and Managing Projects • In list view, click to the left of any object’s thumbnail, then drag up or down to select multiple c

Chapter 2 Creating and Managing Projects 177 4 To nest the selected files underneath an existing layer, do one of the following:• Drag the selected

178 Chapter 2 Creating and Managing Projects Import Merged Layers: All layers of the Photoshop file are collapsed into a single object.Import All

Chapter 2 Creating and Managing Projects 179 3 Do one of the following:• In the Preview area, click Apply.• Drag the audio file to the Canvas, Proj

18 Chapter 1 Getting To Know Motion This turns the act of designing a motion graphics sequence into an act of exploration and discovery, which is t

180 Chapter 2 Creating and Managing Projects You Only Need to Add Files From the File Browser OnceIf you need more copies of an object in your proj

Chapter 2 Creating and Managing Projects 181 Online vs. Offline MediaAs mentioned earlier, adding an object to a Motion project creates a link betw

182 Chapter 2 Creating and Managing Projects To cancel an active search:1 Click Cancel.The manual reconnection sheet is displayed.2 In the sheet, n

Chapter 2 Creating and Managing Projects 183 4 Click the Replace Media File button that appears underneath the Linked Objects parameter.Motion atte

184 Chapter 2 Creating and Managing Projects Exchanging Media in a ProjectYou can exchange any object in your project with a different object in th

Chapter 2 Creating and Managing Projects 185 To replace an object in the Media tab:1 Select the object you want to replace in the Media tab.2 In th

186 Chapter 2 Creating and Managing Projects • Straight: Straight alpha channels are kept completely separate from the red, green, and blue channe

Chapter 2 Creating and Managing Projects 187 Field Order: When importing interlaced video, choose the field order with which the clips were captur

188 Chapter 2 Creating and Managing Projects Note: For information on creating a freeze frame, see “Creating a Freeze or Hold Frame” on page 300.R

Chapter 2 Creating and Managing Projects 189 Using Media in the LibraryMotion ships with a collection of media and effects objects that you can use

Chapter 1 Getting To Know Motion 19 The Utility WindowWhen you open Motion, the Utility window appears on the left side of the screen and contains

190 Chapter 2 Creating and Managing Projects Generators have all the property parameters belonging to other objects. Properties specific to each ge

Chapter 2 Creating and Managing Projects 191 You can use the font categories to preview the fonts that are available on your computer. You can also

192 Chapter 2 Creating and Managing Projects Favorites and the Favorites MenuIt’s easy to customize the behaviors, filters, particle systems, gradi

Chapter 2 Creating and Managing Projects 193 To add a media object to the Favorites category:mDrag a media object from the Layers or Media tab, or

194 Chapter 2 Creating and Managing Projects Organizing Layers and Objects in MotionMotion projects are made up of a hierarchy of layers and object

Chapter 2 Creating and Managing Projects 195 Any layer can contain multiple objects nested inside it. A layer can also contain other layers nested

196 Chapter 2 Creating and Managing Projects Moving the selection in the Canvas moves all three objects simultaneously.Regardless of how they’re ne

Chapter 2 Creating and Managing Projects 197 Note: In this example, each object’s anchor point has been moved to the appropriate axis of rotation

198 Chapter 2 Creating and Managing Projects With all of these objects organized this way, animating the figure becomes easy. For example, if you w

Chapter 2 Creating and Managing Projects 199 Another example of how you might make use of the object/layer hierarchy can be seen through the applic

 Apple Computer, Inc.© 2005 Apple Computer, Inc. All rights reserved.Under the copyright laws, this manual may not be copied, in whole or in part

20 Chapter 1 Getting To Know Motion When you want to watch your project play back, the transport controls at the bottom of the window allow you to

200 Chapter 2 Creating and Managing Projects Note: If you intend to export your project with a premultiplied alpha channel, be aware that most alp

Chapter 2 Creating and Managing Projects 201 To move an object up or down within a layer:1 In the Layers list, click anywhere on the object or laye

202 Chapter 2 Creating and Managing Projects Nesting Layers Inside Other LayersIn addition to nesting objects inside layers, you can also nest laye

Chapter 2 Creating and Managing Projects 203 To ungroup nested objects:1 Select the layer containing the nested objects or layers you want to ungro

204 Chapter 2 Creating and Managing Projects Note: If you hide one or more objects within a layer, the enclosing layer’s Activation checkbox shows

Chapter 2 Creating and Managing Projects 205 The project shown in the following image contains a particle system. Notice that the animated particle

206 Chapter 2 Creating and Managing Projects Note: The Layer tab (that contains the Fixed Resolution parameter) is only accessible when a layer is

Chapter 2 Creating and Managing Projects 207 3 Turn on the Fixed Resolution checkbox.By default, the layer’s resolution is set to the project size.

208 Chapter 2 Creating and Managing Projects The locked object’s bounding box in the Canvas turns red to indicate that it’s locked.Collapsing and U

Chapter 2 Creating and Managing Projects 209 To rename a layer or object:1 Double-click the name of the layer or object you want to rename.2 When t

Chapter 1 Getting To Know Motion 21 The Timing PaneThe Timing pane also has three tabs, each to control a different aspect of your project. The Tim

210 Chapter 2 Creating and Managing Projects Sorting Layers and Objects in the Media TabThe Media tab contains 13 columns that provide information

Chapter 2 Creating and Managing Projects 211 To show or hide a column:mClick the Show Columns button (>), then check or uncheck the columns you

212 Chapter 2 Creating and Managing Projects Exchanging ObjectsThe easiest way to customize a template-based project is to exchange the objects use

Chapter 2 Creating and Managing Projects 213 Creating New TemplatesIn addition to using and customizing the templates that ship with Motion, you ca

214 Chapter 2 Creating and Managing Projects Tip: If you plan to share custom templates with other users, it is recommended that you copy your cus

Chapter 2 Creating and Managing Projects 215 To delete a category in the Template Browser:1 Choose File > Open Template.2 Select a category in t

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3 2173 Basic CompositingThe most fundamental part of compositing involves arranging the visual elements in your composition by moving, rotating,

218 Chapter 3 Basic Compositing You can use different transform modes, each of which allow you to perform basic compositing tasks such as moving, r

Chapter 3 Basic Compositing 219 When you begin to lay out a composition, it’s a good idea to start by creating a static layout of your project that

22 Chapter 1 Getting To Know Motion Standard layout: This layout displays the Utility window on the left and the Canvas on the right. Alternate la

220 Chapter 3 Basic Compositing Bring to Front: Puts the selected object in front of all other objects within the same layer by moving it to the t

Chapter 3 Basic Compositing 221 Bringing and Sending Nonconsecutive SelectionsIf you select multiple nonconsecutive objects, both move up or down t

222 Chapter 3 Basic Compositing To deselect one of multiple selected objects in the Canvas, do one of the following:mShift-click an object you want

Chapter 3 Basic Compositing 223 Rules for Transforming Selected Objects and LayersThe way you transform selected objects depends on how many object

224 Chapter 3 Basic Compositing Transforming a LayerIf you select an entire layer, all objects and layers that are nested within it are treated as

Chapter 3 Basic Compositing 225 Switching Among Canvas Transform ToolsBefore you transform an object, you should make sure that the pointer is set

226 Chapter 3 Basic Compositing The Adjust Control Points tool is available when a shape or mask is selected, and is used to adjust a Bezier or B-S

Chapter 3 Basic Compositing 227 Moving Objects in the CanvasThe simplest thing you can do to start arranging the objects in your project is to move

228 Chapter 3 Basic Compositing One example of when it’s necessary to move an object past the edge of the frame is when you plan on animating an ob

Chapter 3 Basic Compositing 229 Align Left Edges: Objects are moved horizontally so that their left edges line up with the leftmost object in the

Chapter 1 Getting To Know Motion 23 Basic Window ControlsIn addition to choosing from the preset arrangements, you can manually arrange your window

230 Chapter 3 Basic Compositing Canvas Transform ControlsThe transform controls do double-duty, allowing you to both resize (scale) and rotate an o

Chapter 3 Basic Compositing 231 2 Do one of the following:• Drag any of the corners to resize the object’s width and height at the same time. By de

232 Chapter 3 Basic Compositing • Drag the top or bottom scale handle to limit scale changes to the object’s height, or drag the left or right scal

Chapter 3 Basic Compositing 233 As you drag the scale handles, an info box appears and shows you the new width and height percentages and the amoun

234 Chapter 3 Basic Compositing As you drag the rotation handle, the original angle of the object is indicated by a small circle that appears on a

Chapter 3 Basic Compositing 235 If you move an object’s anchor point, however, it no longer rotates around its own center, but instead rotates arou

236 Chapter 3 Basic Compositing Shearing ObjectsThe shear handles can be used to slant an object, either horizontally or vertically. This is an iso

Chapter 3 Basic Compositing 237 Adjusting the Drop Shadow of an ObjectOnce an object’s drop shadow is enabled, the onscreen drop shadow control poi

238 Chapter 3 Basic Compositing Corner-Pinning ObjectsYou can stretch an object into different polygonal shapes using the Four Corner controls. Thi

Chapter 3 Basic Compositing 239 Cropping ObjectsCropping allows you to chop off each of the four edges of an object to eliminate parts you don’t wa

24 Chapter 1 Getting To Know Motion TabsMotion uses tabbed windows to provide convenient access to multiple windows at once. You can switch between

240 Chapter 3 Basic Compositing • Drag one of the four corner handles to crop both corresponding sides simultaneously.• Press Shift while you drag

Chapter 3 Basic Compositing 241 mIf the parameter has a graphical control, such as a slider or dial, you can adjust it.mTo reset a parameter to its

242 Chapter 3 Basic Compositing Note: Setting an object’s scale to a negative value flips the object.Shear: Defines the X and Y shear of the obje

Chapter 3 Basic Compositing 243 Crop: Turns cropping on and off. If an object has been cropped and this checkbox is turned off, the object resumes

244 Chapter 3 Basic Compositing To change an object’s opacity, do one of the following:mAdjust the Opacity slider or value slider in the Properties

Chapter 3 Basic Compositing 245 Each blend mode combines objects in different ways. For example, setting the top object’s blend mode to Multiply yi

246 Chapter 3 Basic Compositing In cases where a stack of overlapping objects appears, each with a different blend mode, the bottommost pair of obj

Chapter 3 Basic Compositing 247 The Preserve Opacity OptionThe Preserve Opacity checkbox allows you to limit an object’s visibility to areas of the

248 Chapter 3 Basic Compositing Preserve Opacity is an easy way to selectively reveal part of an object. In this example, by setting the blend mode

Chapter 3 Basic Compositing 249 Using Blend ModesEach of the available blend modes presents a different method for combining two or more images tog

Chapter 1 Getting To Know Motion 25 Saving Custom LayoutsOnce you have the windows arranged to your liking, you can save your screen layout with a

250 Chapter 3 Basic Compositing CombineWhen a layer is set to Combine, each object is individually blended with all objects and layers that appear

Chapter 3 Basic Compositing 251 NormalWhen a layer is set to Normal, the objects nested within can only be blended with one another. Objects nested

252 Chapter 3 Basic Compositing Other Blend ModesWhen you set a layer to any of the other available blend modes, each object nested within that lay

Chapter 3 Basic Compositing 253 Object Blend ModesThe following section describes how blend modes affect individual objects. All blend modes are pr

254 Chapter 3 Basic Compositing Overlapping midrange color values are darkened based on the color of the background image. In areas where the backg

Chapter 3 Basic Compositing 255 Suggested uses: The Darken blend mode is useful for using one image to texturize another selectively, based on its

256 Chapter 3 Basic Compositing Color BurnColor Burn intensifies the dark areas in each image. Whites in the background image replace the foregroun

Chapter 3 Basic Compositing 257 AddAdd emphasizes the whites in each overlapping image, and lightens all other overlapping colors. The color values

258 Chapter 3 Basic Compositing LightenLighten emphasizes the lightest parts of each overlapping image. Every pixel in each image is compared, and

Chapter 3 Basic Compositing 259 Suggested uses: The Screen blend mode is especially useful for knocking out the blacks behind a foreground subject

26 Chapter 1 Getting To Know Motion You can also create a new custom layout (based on the current state) by clicking the Add (+) button in the Mana

260 Chapter 3 Basic Compositing Linear DodgeSimilar to Screen, except that lighter midrange color values in overlapping regions become intensified.

Chapter 3 Basic Compositing 261 Suggested uses: The Overlay blend mode is particularly useful for combining areas of vivid color in two images.Sof

262 Chapter 3 Basic Compositing Hard LightWhites and blacks in the foreground image block the background image. Whites and blacks in the background

Chapter 3 Basic Compositing 263 Reversing the two overlapping images results in subtle differences in how the overlapping midrange color values are

264 Chapter 3 Basic Compositing Pin LightPin Light is similar to the Hard Light blend mode, except that overlapping midrange color values are mixed

Chapter 3 Basic Compositing 265 Hard MixHard Mix is similar to the Hard Light blend mode, except that the saturation of overlapping midrange color

266 Chapter 3 Basic Compositing ExclusionSimilar to the Difference blend mode, except that the resulting image is lighter overall. Overlapping area

Chapter 3 Basic Compositing 267 Stencil LumaThe Stencil Luma blend mode does the same thing as the Stencil Alpha blend mode, but uses the affected

268 Chapter 3 Basic Compositing BehindThe Behind blend mode forces the object to appear behind all other objects and layers, regardless of its posi

Chapter 3 Basic Compositing 269 The Premultiplied Mix blend mode performs an unpremultiply composite—the foreground image is assumed to be premulti

Chapter 1 Getting To Know Motion 27 Full Screen ModeMotion has an option to cover your entire monitor with the Canvas. This is helpful for watching

270 Chapter 3 Basic Compositing Drop shadows also darken overlapping regions of background objects. A good example of when to use this is when you

Chapter 3 Basic Compositing 271 Note: When you select a text object, these parameters are not displayed in the Dashboard.The Adjust Drop Shadow Tr

272 Chapter 3 Basic Compositing Distance: Sets how close or far an object’s drop shadow is to the object. The farther away a drop shadow is, the m

4 2734 Using the TimelineArrange and edit the assets in your project with flexibility and ease in the Timeline. View your objects spread out over

274 Chapter 4 Using the Timeline The Timeline is not displayed by default in the Standard Layout. It can be viewed by displaying the Timing pane. T

Chapter 4 Using the Timeline 275 When you select an object, the color changes to a darker shade and the name of the object turns white. When the Ti

276 Chapter 4 Using the Timeline Timeline Layer ListThe Timeline Layer list mirrors the Layers list in the Project pane and displays your project t

Chapter 4 Using the Timeline 277 Enabling Timeline TracksTo the left of each track in the Timeline Layer list is an activation checkbox that turns

278 Chapter 4 Using the Timeline Adding and Deleting LayersMotion allows you to add and delete layers directly in the Timeline Layer list. When a n

Chapter 4 Using the Timeline 279 Audio-Video LinksOrdinarily, objects that contain both audio and video are linked together so that they always rem

28 Chapter 1 Getting To Know Motion Tools are also grouped into categories of use. The first set of tools is called the View set because they deal

280 Chapter 4 Using the Timeline Zooming in the TimelineYou can zoom in and out in the Timeline using either the Zoom/Scroll control or the Zoom sl

Chapter 4 Using the Timeline 281 To zoom in or out of the Timeline:mDrag the thumb at either end of the Zoom scroll control. Drag toward the center

282 Chapter 4 Using the Timeline Note: When the Timebar Display is set to Filmstrip, your processing time is increased. When a filter is applied t

Chapter 4 Using the Timeline 283 Depending on where in the Timeline you drop the object, you see different options. If you drag to a layer track, y

284 Chapter 4 Using the Timeline InsertWhen you choose Insert, Motion leaves the existing object in the track, but pushes it forward in time to mak

Chapter 4 Using the Timeline 285 ExchangeExchange is a variant of the Overwrite option, but instead of dropping the entire duration of the new obje

286 Chapter 4 Using the Timeline To overwrite an object:1 Drag an object from the Library or Media tab into the Timeline tracks area. As you drag,

Chapter 4 Using the Timeline 287 The multiple clips are all edited into the project at the same point in time, each on its own track. Alternately,

288 Chapter 4 Using the Timeline Adding to the Timeline Layer ListYou can drag an image from the File Browser or Media tab into the Timeline Layer

Chapter 4 Using the Timeline 289 A new layer is created on top of other existing layers in the hierarchy or “stack” of layers.To create a new layer

Chapter 1 Getting To Know Motion 29 The second group of tools is the Create set. These are tools that generate new objects. You can modify the attr

290 Chapter 4 Using the Timeline To move an object from one layer to another existing layer:1 Drag the object icon in the Timeline Layer list over

Chapter 4 Using the Timeline 291 Nesting LayersTo help organize large groups of objects or to create certain kinds of special effects, you can plac

292 Chapter 4 Using the Timeline To delete a layer or object track:1 Select the layer or object in the Layer list.2 Press Delete.You can also Contr

Chapter 4 Using the Timeline 293 Editing Objects in the TimelineDuring the process of designing and implementing a motion graphics project, you pla

294 Chapter 4 Using the Timeline Moving Objects to the PlayheadYou can move an object to a new location in the Timeline by using the Move Selected

Chapter 4 Using the Timeline 295 Note: If you need to extend an object and the source material doesn’t have enough frames, one option is to alter

296 Chapter 4 Using the Timeline To trim multiple objects at the same time:1 Select the objects you want to trim.2 Place the playhead at the In or

Chapter 4 Using the Timeline 297 Deleting ObjectsRemoving objects from your project can be just as important as adding them. Motion provides three

298 Chapter 4 Using the Timeline To cut an object:1 Select an object you want to delete.2 Choose Edit > Cut from the menu bar (or press Command+

Chapter 4 Using the Timeline 299 Paste SpecialIn addition to ordinary pasting, Motion lets you paste as an insert, overwrite or exchange edit. Thes

3 1 Contents Preface 9 Motion 2 Documentation and Resources9 Onscreen Help 12 Additional Resources Chapter 1 15 Getting To Know Motion15 About

30 Chapter 1 Getting To Know Motion The third set, the Mask tools, can only be accessed when another object is selected. Using a Mask tool creates

300 Chapter 4 Using the Timeline Creating a Freeze or Hold FrameAlthough there are no controls in the Timeline for holding or freezing a frame, you

Chapter 4 Using the Timeline 301 To display an animation curve in the Keyframe Editor:mControl-click a keyframe on the track, then choose Show in K

302 Chapter 4 Using the Timeline 2 Drag to the right or left to move the entire layer in time.To move a single object within a layer:1 Click the ar

Chapter 4 Using the Timeline 303 To move an object to a specific frame:1 In the Timeline, select the object you want to move, then type the number

304 Chapter 4 Using the Timeline To edit one item in an overlapping area of a layer:1 Control-click the overlapping area of the layer, then choose

Chapter 4 Using the Timeline 305 Disconnecting the Layer Track From its ContentsYou can modify the layer bar to be longer or shorter than the conte

306 Chapter 4 Using the Timeline To slip an object in the layer track:1 Option-click an area of the layer where the object is located.2 Drag to the

Chapter 4 Using the Timeline 307 To move backward a specific number of frames:mType “–” (minus) and then the number of frames you want to move back

308 Chapter 4 Using the Timeline To jump to the previous keyframe, do one of the following:mWith the animated object selected, press Option+K.mChoo

Chapter 4 Using the Timeline 309 To customize the playback Out point, do one of the following:mIn the ruler, drag the Out point marker from the rig

Chapter 1 Getting To Know Motion 31 On the right side of the Toolbar, the first four icons make up the Effects controls. These are special controls

310 Chapter 4 Using the Timeline To move a region:mPosition the pointer over the region, then drag to move the region.To deselect tracks from a sel

Chapter 4 Using the Timeline 311 3 Command+Option-drag to select a region of the Timeline.4 Choose Edit > Paste Special. The Paste Special dialo

312 Chapter 4 Using the Timeline To change the project duration, do one of the following:mDrag in the Project Duration field in the lower-right cor

Chapter 4 Using the Timeline 313 Note: Project markers are indicated in the mini-Timeline by a fine green line. For more information on the mini-T

314 Chapter 4 Using the Timeline To add an object marker:1 Place the playhead on the exact frame where you want the marker to appear.2 Select the o

Chapter 4 Using the Timeline 315 To edit marker information:1 Open the Edit Marker dialog by doing one of the following:• Double-click a marker to

316 Chapter 4 Using the Timeline Navigating With MarkersYou can jump from your current playhead position to a nearby project marker either forward

5 3175 Using BehaviorsYou can use behaviors to animate objects using simple, graphical controls. With behaviors, you can create basic motion effe

318 Chapter 5 Using Behaviors • Particles behaviors are specifically designed to be applied to an Emitter object or cells within particle systems.

Chapter 5 Using Behaviors 319 For an introduction to how to use behaviors, see “Applying and Removing Behaviors” on page 321. For more detailed inf

32 Chapter 1 Getting To Know Motion Customizing the ToolbarYou have many options for personalizing the Toolbar. You can change which controls appea

320 Chapter 5 Using Behaviors Browsing for BehaviorsAll available behaviors appear in the Library tab. Selecting the Behaviors category in the cate

Chapter 5 Using Behaviors 321 Applying and Removing BehaviorsThe way you apply a behavior depends on what kind of behavior it is. Some behaviors ar

322 Chapter 5 Using Behaviors New behaviors you apply to an object appear above other behaviors that were applied previously.A Behaviors icon also

Chapter 5 Using Behaviors 323 Behavior Effects in the Keyframe EditorIf you open the Keyframe Editor and look at a parameter that is affected by on

324 Chapter 5 Using Behaviors To apply a behavior to an object, do one of the following:mDrag a Basic Motion, Particles, Replicator, Simulation, or

Chapter 5 Using Behaviors 325 2 Do one of the following:• In the Toolbar, click the Add Behavior icon, then choose a behavior from one of the subme

326 Chapter 5 Using Behaviors Applying Parameter BehaviorsParameter behaviors are applied differently than the other types of behaviors. While all

Chapter 5 Using Behaviors 327 Where Parameter Behaviors AppearWhen any behavior is applied to an object in your project, a Behaviors icon (a gear)

328 Chapter 5 Using Behaviors Like other behaviors, Parameter behaviors appear nested underneath the objects to which they’re applied in the Layers

Chapter 5 Using Behaviors 329 Reassigning a Parameter Behavior to Another ParameterOnce you apply a Parameter behavior, it remains assigned to that

Chapter 1 Getting To Know Motion 33 Additional Buttons and IconsThe Customize Toolbar sheet provides access to additional icons that are not presen

330 Chapter 5 Using Behaviors Customizing Parameters in the DashboardIn general, the parameters that appear in the Dashboard are the most essential

Chapter 5 Using Behaviors 331 To display the Behaviors tab:1 Select an object with a behavior applied to it.2 Open the Inspector, then click the Be

332 Chapter 5 Using Behaviors Note: Control-clicking this icon opens a shortcut menu that displays all the behaviors that are applied to that obje

Chapter 5 Using Behaviors 333 2 Do one of the following:• Choose Edit > Cut (or press Command+X) to remove the behavior and place it on the Clip

334 Chapter 5 Using Behaviors You can also duplicate a behavior and apply the duplicate to another object in the Layers list or Timeline Layer list

Chapter 5 Using Behaviors 335 To reorder a behavior:1 In the Inspector, Timeline, or Layers tab, select the behavior you want to reorder.2 Drag it

336 Chapter 5 Using Behaviors For more information about applying Parameter behaviors, see “Applying Parameter Behaviors” on page 326.Trimming Beha

Chapter 5 Using Behaviors 337 Since behaviors do not add keyframes to the objects to which they’re applied, trimming the Out point of a behavior us

338 Chapter 5 Using Behaviors Combining Behaviors With KeyframesAny object can have both behaviors and keyframes applied to it simultaneously. When

Chapter 5 Using Behaviors 339 You can combine the two by turning the Random Motion behavior back on, with the end result being an animation path th

34 Chapter 1 Getting To Know Motion Audio Editor: Shows or hides the Audio Editor in the Timing pane.Template Browser: Opens the Template Browser

340 Chapter 5 Using Behaviors You can keyframe a parameter either before or after applying a behavior to the object that affects it. When you keyfr

Chapter 5 Using Behaviors 341 For more information on how to use keyframes in the Keyframe Editor, see Chapter 6, “Keyframes and Curves,” on page 4

342 Chapter 5 Using Behaviors Applying Parameter Behaviors to a BehaviorYou can animate a behavior’s parameter by applying a parameter behavior. Fo

Chapter 5 Using Behaviors 343 For more information about keyframing parameters, see “Animating Behaviors” on page 412.Converting Behaviors to Keyfr

344 Chapter 5 Using Behaviors Moving Behaviors Among Different ComputersEach customized behavior you drag into the Library is saved as a separate f

Chapter 5 Using Behaviors 345 The Fade In/Fade Out behavior is useful for introducing and removing images you’re animating in the middle of a proje

346 Chapter 5 Using Behaviors Grow/ShrinkUse the Grow/Shrink behavior to animate the scale of an object, enlarging or reducing its size over time a

Chapter 5 Using Behaviors 347 Parameters in the InspectorIncrement: This pop-up menu lets you choose how the behavior’s effect progresses over its

348 Chapter 5 Using Behaviors Motion PathThe Motion Path behavior lets you create a motion path for an object to follow. When you first apply the M

Chapter 5 Using Behaviors 349 Additional onscreen controlsThe motion path you create in the Canvas can be adjusted by adding points to the default

Chapter 1 Getting To Know Motion 35 mChose an option from the Show pop-up menu in the lower-left corner of the Customize Toolbar sheet.Hiding the T

350 Chapter 5 Using Behaviors 3 Move the playhead to the position you want to create a keyframe, then enter a value in the Custom Speed field. For

Chapter 5 Using Behaviors 351 Dashboard controlThe Dashboard has a pop-up menu to control the axis used to adjust the object’s alignment, and a che

352 Chapter 5 Using Behaviors Note: You can spin the arrow around the ring multiple times to rotate the object faster.Parameters in the InspectorA

Chapter 5 Using Behaviors 353 The Throw behavior is also useful when you’re moving an object through a simulation. For example, you might move the

354 Chapter 5 Using Behaviors Parameters in the InspectorAffect Objects: This parameter appears when Throw is applied to a layer or object (such a

Chapter 5 Using Behaviors 355 Tip: The Average behavior can be used to smooth out the sequence of values generated by a Randomize behavior.Dashboa

356 Chapter 5 Using Behaviors To add a parameter you want to animate in a Custom behavior:mChoose a parameter you want to add to the Custom paramet

Chapter 5 Using Behaviors 357 Once you have animated all the parameters you added, you can save the Custom behavior into the Library for future use

358 Chapter 5 Using Behaviors Dashboard controlThe Dashboard controls allow you to adjust the Control Type, ID, Value, Scale, and parameter assignm

Chapter 5 Using Behaviors 359 To use the MIDI parameter behavior to adjust an object’s opacity:1 Select an object, then select the Opacity paramete

36 Chapter 1 Getting To Know Motion You can directly manipulate the items in the Canvas to modify their physical attributes such as position, scale

360 Chapter 5 Using Behaviors NegateInverts the value of each keyframe and behavior effect in the parameter to which it’s applied by multiplying th

Chapter 5 Using Behaviors 361 Applying the Oscillate behavior to the X value of the Scale parameter instead causes the width of the object to cycle

362 Chapter 5 Using Behaviors RampThe Ramp behavior lets you create a gradual transition in any parameter that can be animated, from the Start Valu

Chapter 5 Using Behaviors 363 Parameters in the InspectorStart Value: The value that’s added to the parameter at the first frame of the Ramp behav

364 Chapter 5 Using Behaviors The Apply Mode parameter determines how values generated by this behavior are combined with other behaviors and keyfr

Chapter 5 Using Behaviors 365 Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new sequ

366 Chapter 5 Using Behaviors End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its positio

Chapter 5 Using Behaviors 367 If the Stop behavior is shorter than the object to which it’s applied, all keyframes and behaviors affecting that cha

368 Chapter 5 Using Behaviors Noisiness: This slider adds an additional overlay of random variance to the Frequency you’ve set. Higher Noisiness v

Chapter 5 Using Behaviors 369 Simulation BehaviorsThese behaviors perform one of two tasks. Some Simulation behaviors, such as Gravity, animate the

Chapter 1 Getting To Know Motion 37 ColorSome motion graphics projects may require you to match or align different colors in your project. The Stat

370 Chapter 5 Using Behaviors Note: The Align to Motion behavior does not work on objects animated using the Motion Path behavior. Instead, use th

Chapter 5 Using Behaviors 371 Invert Axis: A checkbox that flips the orientation with which the object aligns itself to the motion.Spring Tension:

372 Chapter 5 Using Behaviors You can apply two or more Attracted To behaviors to a single object, each with a different object of attraction, to c

Chapter 5 Using Behaviors 373 Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that fall within the area

374 Chapter 5 Using Behaviors Dashboard controlThe Dashboard has controls for Affect, Strength, Falloff Type, Falloff Rate, Influence, and Drag.Par

Chapter 5 Using Behaviors 375 Drag: A slider that can be used to reduce the distance attracted objects overshoot the object of attraction. Lower D

376 Chapter 5 Using Behaviors Dashboard controlThe Dashboard has an object well you can use to assign an object of attraction, as well as sliders f

Chapter 5 Using Behaviors 377 Drift AttractorSimilar to the Attractor behavior, but by default objects within the area of influence move toward the

378 Chapter 5 Using Behaviors Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that fall within the area

Chapter 5 Using Behaviors 379 Dashboard controlThe Dashboard has controls for Bounce Strength and Active Edges. When applied to a layer or group (s

38 Chapter 1 Getting To Know Motion Note: This number only appears while the project is playing.To monitor the project’s playback frame rate:mCont

380 Chapter 5 Using Behaviors You can also set the Acceleration parameter to a negative value, effectively applying “anti-gravity” to the object an

Chapter 5 Using Behaviors 381 Dashboard controlThe Dashboard has an Object well you can use to assign an object of attraction, as well as controls

382 Chapter 5 Using Behaviors Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that fall within the area

Chapter 5 Using Behaviors 383 You can also use the Random Motion behavior to add variation to the animation paths created by other behaviors affect

384 Chapter 5 Using Behaviors Noisiness: A slider that determines an additional level of jaggedness along the animation path shape defined by the

Chapter 5 Using Behaviors 385 Dashboard controlThe Dashboard has controls for which objects are affected, Strength, Falloff Type, Falloff Rate, Inf

386 Chapter 5 Using Behaviors Repel FromWhile the Repel behavior pushes other objects away, the Repel From behavior has the converse effect, making

Chapter 5 Using Behaviors 387 Drag: A slider that can be used to reduce the distance the object or objects travel away from the repelling object.R

388 Chapter 5 Using Behaviors If the Attract To object is at a stop, the resulting motion is fairly simple and the springing object moves back and

Chapter 5 Using Behaviors 389 VortexThe opposite of the Orbit Around behavior. While the Orbit Around behavior causes one object to orbit around an

Chapter 1 Getting To Know Motion 39 There are four pop-up menus at the right side of the Status Bar that provide access to these settings: Zoom Le

390 Chapter 5 Using Behaviors Falloff Rate: This value determines how quickly the force of attraction between objects affected by this behavior fa

Chapter 5 Using Behaviors 391 Note: The maximum speed you can define with the Dashboard is not the maximum speed possible. Higher values can be en

Behavior ExamplesThe following two examples illustrate different ways that groups of behaviors can be combined to create different effects.Example 1:

Chapter 5 Using Behaviors 393 3 Select the top object. If necessary, choose the Motion Path behavior from the Dashboard pop-up menu to make its mot

394 Chapter 5 Using Behaviors 6 For each object in the Layers tab, choose its Motion Path behavior from the pop-up menu in the Dashboard title bar,

Chapter 5 Using Behaviors 395 10 Next, open the Inspector, and click the Behaviors tab. Choose Ramp to Final Value from the Grow/Shrink behavior’s

396 Chapter 5 Using Behaviors 14 Drag the left shaded ramp of the Fade In/Fade Out control in the Dashboard to the right to lengthen the fade in ef

Chapter 5 Using Behaviors 397 By default, the anchor point is located at the center of each object. Prior to adding behaviors to animate these obje

398 Chapter 5 Using Behaviors 4 Now, open the Behaviors tab, and set the Rate parameter to –49. This rotates the minute hand clockwise at a continu

Chapter 5 Using Behaviors 399 7 Now it’s time to make the pendulum swing. Select the pendulum object. You should have already adjusted its anchor p

4 Contents Chapter 3 217 Basic Compositing219 Layer and Object Order 221 Object and Layer Transforms in the Canvas 243 Editing Opacity and Blending 2

40 Chapter 1 Getting To Know Motion To zoom in and out of a specific area of the Canvas:mPress Command+Space bar, then drag the area of the Canvas

400 Chapter 5 Using Behaviors 01112.book Page 400 Sunday, March 13, 2005 10:36 PM

6 4016 Keyframes and CurvesWhether you want to send clips flying around the screen or animate individual filter settings on the fly, keyframes al

402 Chapter 6 Keyframes and Curves Animation in MotionThere are several different places in Motion where you can create and edit keyframes and the

Chapter 6 Keyframes and Curves 403 You can also use the Dashboard and the Inspector to set and modify values for nearly every option in the applica

404 Chapter 6 Keyframes and Curves You can also view and modify keyframes in the Timeline by clicking the Show/Hide Keyframes button. Keyframes app

Chapter 6 Keyframes and Curves 405 Animating in the CanvasThe easiest way to perform basic keyframing is to modify objects directly in the Canvas.

406 Chapter 6 Keyframes and Curves The object is scaled over the interval you set. In this same way, you can keyframe any of the transformation par

Chapter 6 Keyframes and Curves 407 Note: To view the animation paths of keyframed objects, ensure Animation Path is selected in the View pop-up me

408 Chapter 6 Keyframes and Curves 3 Place the object in a starting position.4 Move the playhead forward.5 Drag the object to the ending position y

Chapter 6 Keyframes and Curves 409 Manipulating Animation PathsWhen the path is displayed, you can directly manipulate the keyframes to reposition

Chapter 1 Getting To Know Motion 41 Transparent: Shows the background area of the Canvas as transparent. A checkerboard pattern appears where no i

410 Chapter 6 Keyframes and Curves To animate a clip’s opacity:1 Click the Record button to enable record (or press A).2 Place the playhead at the

Chapter 6 Keyframes and Curves 411 Animating FiltersIn addition to making changes to a clip’s basic attributes, keyframing can be used to modify ne

412 Chapter 6 Keyframes and Curves 7 Set the slider to a new value.8 Click the Record button (or press A) to disable record.The filter now changes

Chapter 6 Keyframes and Curves 413 6 Move the playhead to a new time position.7 Adjust the behavior settings again.8 Click the Record button to dis

414 Chapter 6 Keyframes and Curves Once you get the hang of how it works, you can use this method to enhance and control the effects of behaviors.

Chapter 6 Keyframes and Curves 415 5 Click the Inspector tab where the parameter you want to modify is located (filters in this example).6 Set the

416 Chapter 6 Keyframes and Curves Enable Animation: This menu item remains unavailable until animation is applied to the channel either by using

Chapter 6 Keyframes and Curves 417 4 To set another keyframe for the same parameter, move the playhead to the next location and adjust the paramete

418 Chapter 6 Keyframes and Curves Animation Menu StatesDepending on whether or not a parameter is currently animated, and whether or not the playh

Chapter 6 Keyframes and Curves 419 Animating in the TimelineWhen keyframing, it is often very helpful to view your keyframes over time. This lets y

42 Chapter 1 Getting To Know Motion Film Zone: Turns display of the film aspect ratio guides on and off. This can be helpful if you are creating a

420 Chapter 6 Keyframes and Curves You can identify a keyframe’s value in the shortcut menu. Multiple keyframes on the same frame are all listed in

Chapter 6 Keyframes and Curves 421 Note: Control-clicking a keyframe displays a shortcut menu containing the parameter name and value for each key

422 Chapter 6 Keyframes and Curves One great way to do this is to use time markers. Simply identify the important frame with a marker and drag the

Chapter 6 Keyframes and Curves 423 Trimming Keyframed EffectsWhen the duration of an effect such as a filter or behavior in the Timeline is changed

424 Chapter 6 Keyframes and Curves You can prevent this automatic resizing by pressing Command while resizing an effect object. This changes the ov

Chapter 6 Keyframes and Curves 425 Viewing the curves for your animated parameters gives you another way to understand how your effect is changing

426 Chapter 6 Keyframes and Curves To display the Keyframe Editor, do one of the following:mIf the Timing pane is already visible, click the Keyfra

Chapter 6 Keyframes and Curves 427 Current Frame FieldThis control lets you instantly jump to any frame in your project. Since it is also a value s

428 Chapter 6 Keyframes and Curves • Reset Parameter: Removes all keyframes and settings for this parameter. The parameter value is reset to its d

Chapter 6 Keyframes and Curves 429 Filtering ControlsEffective use of the Keyframe Editor requires controlling the list of parameters currently on

Chapter 1 Getting To Know Motion 43 To override the current project settings for field rendering on export:1 Choose File > Export.2 Optional: S

430 Chapter 6 Keyframes and Curves This option shows only the parameter(s) currently being modified. When this option is selected, nothing appears

Chapter 6 Keyframes and Curves 431 mClick the Animation menu for that parameter, then choose Show in Keyframe Editor.The parameter is added to the

432 Chapter 6 Keyframes and Curves To delete a custom parameter set:1 Choose Manage Curve Sets from the Show pop-up menu. The Manage Curve Sets dia

Chapter 6 Keyframes and Curves 433 The Curve GraphA graph appears to the right of the parameter list and displays the curves for your selected para

434 Chapter 6 Keyframes and Curves mDouble-click the keyframe you want to modify, type the new value into the value field, then press Return.This c

Chapter 6 Keyframes and Curves 435 Curves created when new keyframes are added are set to the linear interpolation method. For more information on

436 Chapter 6 Keyframes and Curves To select keyframes, do one of the following:mDrag a selection box around the keyframes you want to select.mShif

Chapter 6 Keyframes and Curves 437 To paste keyframes:1 Select the destination parameter in the parameter list.2 Place the playhead at the point in

438 Chapter 6 Keyframes and Curves To set an interpolation method on a curve segment:mControl-click the segment, then choose an interpolation metho

Chapter 6 Keyframes and Curves 439 The different interpolation methods are described in the table below.Alternatively, you can apply an interpolati

44 Chapter 1 Getting To Know Motion By default, rulers appear along the left and top sides of the Canvas. You can change the location of the rulers

440 Chapter 6 Keyframes and Curves To change the interpolation method for an entire parameter:mIn the Keyframe Editor, click the Animation menu and

Chapter 6 Keyframes and Curves 441 Bezier handles appear and your mouse movement automatically controls one of the handles.Note: Command-clicking

442 Chapter 6 Keyframes and Curves 2 Choose a setting from the Before First Keyframe submenu.To set the After Last Keyframe setting for a parameter

Chapter 6 Keyframes and Curves 443 Generate KeyframesOrdinarily the extrapolation occurs without actually creating any new keyframes. This lets you

444 Chapter 6 Keyframes and Curves The Generate Keyframes dialog appears.2 Choose the number of cycles you want to be keyframed. 3 Click OK to conf

Chapter 6 Keyframes and Curves 445 “Show audio waveform”: Turns on display of the audio waveforms for the selected item in the background of the g

The values of your keyframes are not changed. Auto-Scaling: Auto-Scaling mode continuously stretches the graph to fit all of the curves currently in

Chapter 6 Keyframes and Curves 447 For example, it is not until you see all of the various elements in your project in concert that you can know wh

448 Chapter 6 Keyframes and Curves Handmade Motion in the CanvasOne of the most common uses for animating on the fly is to create handmade animatio

Chapter 6 Keyframes and Curves 449 In many cases, the curve created by your animation can be represented using fewer keyframes. Often, this will pr

Chapter 1 Getting To Know Motion 45 To change the color of the guides:1 Choose Motion > Preferences. 2 In the Canvas section, click the Guide Co

450 Chapter 6 Keyframes and Curves Off: No thinning is applied. Keyframes are applied at every frame where the parameter is changed.Reduced: Moti

Chapter 6 Keyframes and Curves 451 To disable animation recording while playing:1 Choose Mark > Recording Options. The Recording Options dialog

452 Chapter 6 Keyframes and Curves 5 Choose Mark > Recording Options, and turn on “Record keyframes on animated parameters only” in the Recordin

7 4537 Using TextText, one of the most essential motion graphics elements and sometime savage beast, has just been taught to “behave” in Motion.I

454 Chapter 7 Using Text Using Text in MotionText is added to your project directly in the Canvas—select the Text tool, click in the Canvas, then s

Chapter 7 Using Text 455 Once you create the perfect text treatment—a customized text behavior or a text object with the perfect gradient colors an

456 Chapter 7 Using Text Setting Object Duration PreferencesBefore you start any project, it is recommended that you set up Motion Preferences acco

Chapter 7 Using Text 457 • To create objects at the start of the project, select “Start of project.” This means that all objects are created at the

458 Chapter 7 Using Text To add text in the Canvas:1 In the Layers list, select the layer to which you want to add text.Note: If no layer is selec

Chapter 7 Using Text 459 Important: Once you have finished typing your text, be sure to press Esc or select another tool on the Toolbar—do not use

46 Chapter 1 Getting To Know Motion Note: When “Record keyframes on animated parameters only” is turned on in the Recording Options dialog, keyfra

460 Chapter 7 Using Text Using the Text DashboardThe Text Dashboard contains some of the most commonly-adjusted text parameters, such as opacity, t

Chapter 7 Using Text 461 Family: By default, a text object’s font family is set to Geneva (if installed on your system). To change the font of the

462 Chapter 7 Using Text Note: The text Size sliders (in the Dashboard and in the Inspector) are limited to 288 points. To set the text to a large

Chapter 7 Using Text 463 To display the Inspector:1 Select the text object.2 Do one of the following:• Choose Window > Inspector.• Click the “i”

464 Chapter 7 Using Text About FontsMotion uses all supported fonts installed on your Mac OS X system. Mac OS X supported fonts include OpenType, T

Chapter 7 Using Text 465 Previewing FontsYou can use the Fonts category in the Library to browse and preview fonts. When a typeface is selected in

466 Chapter 7 Using Text Changing FontsThere are two ways to use the Library font browser to change the typeface of a text object. The first method

Chapter 7 Using Text 467 3 Drag the font onto the text object in the Canvas.As you drag the font over the text object, a transparent thumbnail of t

468 Chapter 7 Using Text 4 In the Preview area, click Apply.The text object is changed to the selected font.Navigating the Font Browser ListsTo qui

Chapter 7 Using Text 469 This section discusses the tools that can be used to create and modify text objects. The following interface tools are use

Chapter 1 Getting To Know Motion 47 When a section of your project is currently stored in RAM, the Timeline and the mini-Timeline turn green to ind

470 Chapter 7 Using Text Adding Text With the Text ToolText is added to a project with the Text tool.To add text to your project, do one of the fol

Chapter 7 Using Text 471 mIn the Text Inspector, click the Layout pane and adjust the Left, Right, Top, or Bottom Margin values.To select text char

472 Chapter 7 Using Text 3 Click in the Text Editor and begin typing.Note: Since the default text Layout Method is set to Type, when text is enter

Chapter 7 Using Text 473 To use the spelling feature in the Text Editor, do one of the following:mClick in the Text Editor, then choose an option f

474 Chapter 7 Using Text To reset a group of parameters, such as the text Face controls or the Sequence controls of a text behavior, click the Rese

Chapter 7 Using Text 475 Text Format ControlsThis section describes the text Format parameters. Of the following Format parameters, Family, Typefac

476 Chapter 7 Using Text The font family list appears.3 Drag the pointer in the font list, and scrub up or down to select your font.As you drag thr

Chapter 7 Using Text 477 Tracking: Determines the spacing between the characters of a text object. Tracking applies a uniform value between each c

478 Chapter 7 Using Text Slant: Simulates italics by adding a slant value to the characters of a text object.Scale: Scales the characters of the

Chapter 7 Using Text 479 Text Face ControlsUse the text Face controls to specify whether the text is a solid color, a color gradient, or a texture.

48 Chapter 1 Getting To Know Motion Note: Working in float has no effect on your RAM Preview. Although the project is rendered in float, the previ

480 Chapter 7 Using Text 3 Click the color well, then use the Colors window to set the text color.The text object is dynamically updated as you sel

Chapter 7 Using Text 481 You can also Control-click a color well and drag in the pop-up color palette to select a color.To adjust the individual co

482 Chapter 7 Using Text Note: The gradient controls for a text object are nearly equivalent to the gradient controls for shapes and particles, wi

Chapter 7 Using Text 483 Applying a Preset Gradient to a Text ObjectThere are two ways to apply a preset (or saved) gradient from the Library to a

484 Chapter 7 Using Text To apply a preset gradient from the Library:1 In the Library, click the Gradients category.2 In the stack, select a gradie

Chapter 7 Using Text 485 Using the Gradient EditorUse the Gradient Editor to change the color, color position, number of colors, opacity, and direc

486 Chapter 7 Using Text The color controls for the selected color tag are enabled. In the Color controls, you can either click the color well to s

Chapter 7 Using Text 487 To change the spread of a gradient color:mDrag the small triangle between the color tags to change the location of the spr

488 Chapter 7 Using Text A new opacity tag is added to the gradient.Until the value is adjusted, the gradient opacity is 100 percent.To change the

Chapter 7 Using Text 489 Editing color and opacity direction and distributionYou can quickly reverse the direction or evenly distribute the gradien

Chapter 1 Getting To Know Motion 49 To add an object to the mini-Timeline:1 Drag the object from the File Browser to the mini-Timeline. As you drag

490 Chapter 7 Using Text 3 In the Save Preset To Library dialog, type the name of the gradient.4 Click Save.The custom gradient appears in the Grad

Chapter 7 Using Text 491 Like the preset gradients, a preview of the gradient appears in the Preview area when the gradient is selected in the stac

492 Chapter 7 Using Text Note: The Parameter behavior can be applied to any parameter that appears in the Apply To pop-up menu.5 Click the Play bu

Chapter 7 Using Text 493 The Color controls are replaced with the Texture controls. 5 Click the Texture disclosure triangle.By default, no texture

494 Chapter 7 Using Text To replace a texture: 1 Select the text object and display the expanded Texture controls.2 In the Layers or Media tab, dra

Chapter 7 Using Text 495 Editing a TextureIf you are using an image sequence or movie as the texture source of a text object, you can specify the s

496 Chapter 7 Using Text • Mirror: Beyond the edge of the source image, the texture source is reflected like in a mirror—duplicated, tiled, and al

Chapter 7 Using Text 497 • Press Command, then drag in the Image well.• Use the Offset sliders or value sliders to enter an offset value.The image

498 Chapter 7 Using Text 6 Move the texture to the new position.7 Go to frame 1 (or the start frame of your animation) and play the clip.The textur

Chapter 7 Using Text 499 Applying a Texture to Text Characters vs. Applying a Texture to a Text ObjectWhen you apply an image (or object) as the t

Contents 5 Chapter 8 565 Working With Particles567 The Anatomy of a Particle System 569 Using Particle Systems 585 Creating Graphics and Animations f

50 Chapter 1 Getting To Know Motion To move an object in time:1 Select the object you want to move.The object appears in the mini-Timeline.2 In the

500 Chapter 7 Using Text To use a text object to mask an image:1 In the Layers tab or Canvas, select the object or layer you want to use as the tex

Chapter 7 Using Text 501 • The Mask Source well in the Image Mask Dashboard• The Image Mask object in the Layers tab (drop the text object on the I

502 Chapter 7 Using Text The text object opacity is dynamically updated as you drag the slider.To set the opacity in the Inspector:1 Select the tex

Chapter 7 Using Text 503 Changing Text SoftnessUse the Blur parameter in the Style pane of the Text Inspector to adjust the softness of the text ob

504 Chapter 7 Using Text Width: Sets the thickness of the outline.Layer Order: Specifies whether the outline is drawn over or under the text obje

Chapter 7 Using Text 505 To set the layer order of a text outline:mMake a choice from the Layer Order pop-up menu.• Choose Under Face to place the

506 Chapter 7 Using Text Adding a Text GlowTo create a text glow, enable the Glow parameter in the Style pane of the Text Inspector.To create a glo

Chapter 7 Using Text 507 To adjust the position of the glow:mUse the Offset value sliders to change the position of the glow. The left value slider

508 Chapter 7 Using Text Adding a Drop ShadowTo create a text drop shadow, enable the Drop Shadow parameter in the Style pane of the Text Inspector

Chapter 7 Using Text 509 To change the angle of the shadow from the text object:mDrag the Angle dial in a circular motion or use the value slider.N

Chapter 1 Getting To Know Motion 51 A tooltip appears to indicate the new In and Out points. Note: You cannot slip a clip unless it has been trimm

510 Chapter 7 Using Text To apply a text style from the Library:1 In the Library (press Command+2), select the Text Styles category.2 Select a styl

Chapter 7 Using Text 511 The text style is applied to the text object.To apply a text style from the Text Inspector: 1 Select the text object to wh

512 Chapter 7 Using Text Saving a Custom Text StyleOnce you have modified parameters in the Style pane (such as Gradient or Glow) or Format pane (s

Chapter 7 Using Text 513 The custom preset is saved to the Text Styles category in the Library. Custom presets can be identified in the Library by

514 Chapter 7 Using Text To show the Text Layout pane:mIn the Inspector, click the Text tab, then click Layout. Text Layout ControlsUse the Text La

Chapter 7 Using Text 515 Type On: This group of controls allows you to create a type on effect, similar to a typewriter. You can keyframe the type

516 Chapter 7 Using Text Example: Creating a Type On EffectIn this example, a text object is set to type on from right to left.To create a type on

Chapter 7 Using Text 517 The text object is typed on.To create a type on effect in which the text characters “pop” on, turn off Fade In.Note: You

518 Chapter 7 Using Text Path Shape: Sets the shape of the path to Line or Loop.Path Offset: Determines where the text begins on the path. Animat

Chapter 7 Using Text 519 Modifying the Path ShapeKeep in mind that the Text tool must be selected to view and edit the text path. Use the following

52 Chapter 1 Getting To Know Motion To increase or decrease the current frame or duration one frame at a time:mClick the increment or decrement arr

520 Chapter 7 Using Text • Option-click or double-click the path to add a control point.• To remove a control point, select the point, then press D

Chapter 7 Using Text 521 When dragging, press Shift to constrain the path to a straight line. Once a path has been extended, you can add control po

522 Chapter 7 Using Text A positive value moves the text toward the right and a negative value moves the text toward the left. You can enter values

Chapter 7 Using Text 523 Margin OptionsThis group of controls, which becomes available when the Layout Method is set to Paragraph, sets the size an

524 Chapter 7 Using Text Once you release the mouse button, the insertion point flashes in the text box and you can enter text in the Canvas or the

Chapter 7 Using Text 525 Using the Sequence Text behavior in the Text Animation group, you can create a custom animation that sequences through the

526 Chapter 7 Using Text To apply a Text Animation behavior from the Library:1 In the Library, select the Behaviors category and then select Text A

Chapter 7 Using Text 527 To apply a Text Animation behavior from the Add Behavior icon:1 Select the text object (or objects) to which you want to a

528 Chapter 7 Using Text Modifying the Crawl Left BehaviorUse the Crawl Left parameters to modify the speed, start offset, and end offset of the cr

Chapter 7 Using Text 529 In the following image, the Crawl Left Rate is set to 200, and the Position Offset set to 80. Since the Rate is increased,

Chapter 1 Getting To Know Motion 53 To move backward a specific number of frames:mType “–” (minus) followed by the number of frames you want to mov

530 Chapter 7 Using Text To change the In point of the Crawl Left behavior:1 Select the Crawl Left behavior.The Crawl Left behavior is selected in

Chapter 7 Using Text 531 The text stops crawling when the playhead reaches the end of the Crawl Left behavior bar.Sequence TextThe Sequence Text be

532 Chapter 7 Using Text In the Canvas, the text object bounding box is replaced with the sequence bounding box.The Sequence Text Dashboard (press

Chapter 7 Using Text 533 The upper area of the Sequence Text controls contains the Add and Remove pop-up menus, which are used to select parameters

534 Chapter 7 Using Text Note: Often, you can enter values larger than a parameter’s slider allows by typing in the value slider.5 Click the Play

Chapter 7 Using Text 535 7 Set Rotation to the largest (or smallest) value you want the text to rotate in your animation. In this example, Rotation

536 Chapter 7 Using Text All of the text characters begin at 350 percent scale and 90 degrees rotation simultaneously.Note: Make sure that the Map

Chapter 7 Using Text 537 Modifying the Sequence Text BehaviorUse the Sequence controls to repeat the animation over the duration of the text object

538 Chapter 7 Using Text Loops: Use the slider or value slider to set the number of times the animation sequences through the text object over its

Chapter 7 Using Text 539 • Word: Selects the separate words of a text object to be affected by the values set in the applied parameters.• Line: S

54 Chapter 1 Getting To Know Motion All of this can be accomplished in the Project pane, which is ordinarily to the left of the Canvas. To display

540 Chapter 7 Using Text Map Animation: The Map Animation parameter sets the timing of the animation to either “To Entire Object” or “To Selection

Chapter 7 Using Text 541 Important: You do not need to create an animation (keyframes) to use the “To Entire Object” option.• To Selection: Chang

542 Chapter 7 Using Text Using the Sequence Text Custom Behavior OptionWhen Behavior is set to Custom, you can create location keyframes to specify

Chapter 7 Using Text 543 In the Canvas, the first few characters are selected by default, and are affected by the Scale value.In the Behaviors Insp

544 Chapter 7 Using Text In the Inspector, a keyframe is added to the Location parameter.6 Go to the next frame where you want to set a keyframe, a

Chapter 7 Using Text 545 To use the Text Tracking behavior:mApply the Text Tracking behavior (from the Text Animation subcategory) to the text obje

546 Chapter 7 Using Text Modifying the Tracking BehaviorUse the Tracking parameters to modify the rate and end offset of the character tracking. Th

Chapter 7 Using Text 547 Since the Type On behavior is applied to the duration of the text object to which it is applied, it takes the duration of

548 Chapter 7 Using Text Note: You can also slow the type on effect by extending the behavior beyond the duration of the text object.Text Sequence

Chapter 7 Using Text 549 Note: Since the sequence behaviors are preset variations of the Sequence Text behavior (in the Text Animation subcategory

Chapter 1 Getting To Know Motion 55 To display the Layers tab, do one of the following:mClick the Project Pane icon in the Toolbar.mChoose Window &

550 Chapter 7 Using Text Once applied, the Drop In From Left behavior appears in the Layers tab and Timeline.The Dashboard also appears (press F7).

Chapter 7 Using Text 551 Also, because you can apply sequence behaviors to text with applied styles (such as Glow or a Library text style), all of

552 Chapter 7 Using Text Modifying Text Sequence BehaviorsUse the following guidelines to modify the default Drop In From Left behavior. The differ

Chapter 7 Using Text 553 Note: You can set different Opacity values for the different text style parameters (Outline, Glow, and Drop Shadow).Seque

554 Chapter 7 Using Text Adding or Removing Text Sequence Behavior Parameters Although the Text Sequence behaviors include predetermined parameters

Chapter 7 Using Text 555 The chosen parameter is added to the sequence behavior.3 Set a value in the new parameter (Scale). In this example, the Sc

556 Chapter 7 Using Text To save a modified behavior to the Library:1 Select the behavior you want to save.Note: Although not required, it is reco

Chapter 7 Using Text 557 Behaviors are applied to text objects in the same manner as all other objects—by using the Library or the Add Behavior ico

558 Chapter 7 Using Text The text characters are swept around the screen in a vortex pattern. If the text characters start to move off the screen,

Chapter 7 Using Text 559 Animating Text With KeyframesYou can create keyframes for most of the text parameters. As with all objects in Motion, ther

56 Chapter 1 Getting To Know Motion Lock: Lets you lock an object to prevent any changes from affecting that object. Locking a layer prevents chan

560 Chapter 7 Using Text When enabled, the Record button pulses red and a keyframe is automatically created whenever you change the value of a para

Chapter 7 Using Text 561 The following image shows the original text object prior to the application of the LiveFont.To apply a LiveFont to a text

562 Chapter 7 Using Text Depending on the frame where you apply the font, the font may not appear, may appear partially drawn, or may appear comple

Chapter 7 Using Text 563 Since LiveFonts are movies, they are applied with default timing settings. You can modify the timing settings, such as ran

Play: Sets the LiveFont movie to play Forward, Backward, or Ping Pong. This is not the same as the Direction parameter. Using the Freehand font as an

8 5658 Working With ParticlesUsing particle systems, you can simulate real-world effects such as smoke and sparks, or you can bend the rules and

566 Chapter 8 Working With Particles Particle systems use objects, referred to as cells, as the “mold” for the particles that are generated by the

Chapter 8 Working With Particles 567 The Anatomy of a Particle SystemEvery particle system is made up of an emitter and one or more cells. Each cel

568 Chapter 8 Working With Particles As with any effect in Motion, particle system parameters can be keyframed in order to change a particle effect

Chapter 8 Working With Particles 569 Using Particle SystemsDespite their sophistication, particle systems are easy to set up and simple to use. Thi

Chapter 1 Getting To Know Motion 57 Editing ColumnsAny window that contains columns of data can be reorganized to suit your needs. You can change t

570 Chapter 8 Working With Particles To add a particle system from the Library:1 In the Library, click the Particle Emitters category.2 Click one o

Chapter 8 Working With Particles 571 4 When you find a particle preset you want to use, do one of the following:• Click Apply to add the selected p

572 Chapter 8 Working With Particles In any particle system, the emitter is the source of all particles that are created. Particle systems in Motio

Chapter 8 Working With Particles 573 3 Select the object, then do one of the following:• In the Toolbar, click the Make Particles icon.• Press E.On

574 Chapter 8 Working With Particles By default, new cells emit one particle per frame in all directions (for 30 fps projects), and each particle m

Chapter 8 Working With Particles 575 Additional cells can be created by either selecting multiple source objects when initially creating the emitte

576 Chapter 8 Working With Particles For particle systems containing multiple cells, the Emitter Dashboard parameters simultaneously modify the eff

Chapter 8 Working With Particles 577 Emission Range: Two points on the outer ring of the graphical Emission control let you define the range of an

578 Chapter 8 Working With Particles 2 The first thing you may notice in this example is that the size of each particle is so big that it’s hard to

Chapter 8 Working With Particles 579 4 To make the particles drift upward, click in the middle of the Emission Range segment and drag to rotate the

58 Chapter 1 Getting To Know Motion To sort the items in a column by type of file:mClick the column header.Note: Sorting does not work in the Laye

580 Chapter 8 Working With Particles As you increase the birth rate, more particles are created and a nearly unified column of particles is created

Chapter 8 Working With Particles 581 Transform ControlsAs a particle system plays, the cells in the system are duplicated, according to the paramet

582 Chapter 8 Working With Particles Modifying an emitter’s other transformation parameters (Rotation, Scale, Shear, and Anchor Point) changes the

Chapter 8 Working With Particles 583 As shown in the following images, you can apply masks to the cell source object of a particle emitter.You can

584 Chapter 8 Working With Particles The duration of the cell actually controls the duration over which new particles are generated. You can change

Chapter 8 Working With Particles 585 For more information on adjusting the timing of layers in the Timeline, see “Using the Timeline” on page 273.C

586 Chapter 8 Working With Particles Create Clips That LoopParticles created from QuickTime clips loop over and over for the duration of each indiv

Chapter 8 Working With Particles 587 Emitter ParametersSeveral parameters in the Emitter tab are identical to those found in the Emitter Dashboard,

588 Chapter 8 Working With Particles To open a particle system’s Emitter tab:1 Select an emitter object.2 In the Inspector, click the Emitter tab.

Chapter 8 Working With Particles 589 If a particle system has two or more cells, the Emitter tab looks much different. The list of parameters is mu

Chapter 1 Getting To Know Motion 59 Filtering the Layers List ViewAs your project becomes more complex, you may want to temporarily hide certain ob

590 Chapter 8 Working With Particles Changes made using the master controls modify the effect of each cell’s parameters relative to the other cells

Chapter 8 Working With Particles 591 Line: Particles emerge from a line. Using the onscreen controls (with the Adjust Item tool) or the Inspector,

592 Chapter 8 Working With Particles Circle: Particles emerge from a circle-shaped emitter. Particles can be emitted in an Outline, Tile Fill, or

Chapter 8 Working With Particles 593 Spiral: Particles emerge from a spiral pattern. Using the onscreen controls (with the Adjust Item tool), you

594 Chapter 8 Working With Particles Geometry: Particles emerge from the edge of a shape, defined by a spline object used as the shape source. The

Chapter 8 Working With Particles 595 Pattern (Rectangle, Circle, Image): Specifies how the particles are generated from the selected pattern. The

596 Chapter 8 Working With Particles Number of Arms (Burst or Spiral): Defines the number of branches from which particles are emitted. The defaul

Chapter 8 Working With Particles 597 Note: When using an emitter shape other than a point, such as a line, circle, rectangle, spiral, burst, or wa

598 Chapter 8 Working With Particles Birth Rate: A slider that defines the birth rate of the cell. In other words, this parameter defines how many

Chapter 8 Working With Particles 599 Life: A slider that defines the duration of every particle, in seconds. This specifies how long each particle

6 Contents Chapter 13 877 Working With Audio878 Audio Files in Motion Projects 887 Working With Audio Tracks 894 Keyframing Level and Pan Changes 897

60 Chapter 1 Getting To Know Motion To display filters in the Layers tab:mClick the Show Filters button. Click the button again to hide the filters

600 Chapter 8 Working With Particles Spin: A dial that animates particles in a system by initially spinning each individual particle around its ce

Chapter 8 Working With Particles 601 • Original: Particles are generated using their original colors. When Original is chosen, the Opacity Over Li

602 Chapter 8 Working With Particles • Pick From Range: Particles are tinted at random, with the range of possible colors defined by the Gradient

Chapter 8 Working With Particles 603 Scale Range: A slider that defines an amount of variance in the scale of generated particles. A value of 0 re

604 Chapter 8 Working With Particles • Points: Each particle is represented by a single point. This is the fastest preview mode and is useful for

Chapter 8 Working With Particles 605 • Wireframe: Each particle is represented by a bounding box. Since the bounding boxes are good indicators of

606 Chapter 8 Working With Particles Additional Cell Parameters for QuickTime MoviesIf you create a particle system using a QuickTime object as a c

Chapter 8 Working With Particles 607 Additional Cell Parameters Based on the Selected Color ModeEach of the options in the Color Mode pop-up menu d

608 Chapter 8 Working With Particles • Color Gradient control: A gradient control that allows you to tint particles based on their age.• Color con

Chapter 8 Working With Particles 609 The Particle Cell parameters appear.01112.book Page 609 Sunday, March 13, 2005 10:36 PM

Chapter 1 Getting To Know Motion 61 Copy: Copies the object to the Clipboard.Paste: Places the contents of the Clipboard in the current location.

610 Chapter 8 Working With Particles Animating Objects in Particle SystemsYou can animate any emitter or cell parameter in a particle system by usi

Chapter 8 Working With Particles 611 Note: Not all behaviors instantly activate an object when applied. For example, when a Throw behavior is appl

612 Chapter 8 Working With Particles • Birth and Death Values: Specify starting and ending scale percentages that are used to animate each particl

Chapter 8 Working With Particles 613 Particle System ExamplesThis section presents two examples of how to use particle systems to create very diffe

614 Chapter 8 Working With Particles 5 Set the Initial Number parameter to 12. This creates a distributed group of particles that partially fills t

Chapter 8 Working With Particles 615 7 An additional step might be to apply a filter to the emitter. In this example, adding the Crystallize filter

616 Chapter 8 Working With Particles The original object is replaced with an emitter, but nothing happens yet because the playhead is at the first

Chapter 8 Working With Particles 617 4 To make the particles generated by each different cell mingle together, select the emitter, open the Inspect

618 Chapter 8 Working With Particles 8 Next, change the color of the particles generated by the Spark12 cell by doing the following:a Choose Colori

Chapter 8 Working With Particles 619 13 To make the particles generated from this cell spin in the opposite direction, turn the dial in the Spin pa

62 Chapter 1 Getting To Know Motion Kind: Identifies the type of media, including QuickTime movie, still image, QuickTime audio, or PDF. See “Vide

620 Chapter 8 Working With Particles To save a particle system to the particle Library:1 Open the Library and select either the Particles, Favorite

9 6219 Using the ReplicatorThe Replicator allows you to easily create patterns of repeating elements that can be quickly animated in mechanical o

622 Chapter 9 Using the Replicator Once you have replicated an object, you can quickly change the shape of the pattern and animate its elements by

Chapter 9 Using the Replicator 623 You can replicate nearly any object in Motion, including images, shapes, text, movies, and image sequences. You

624 Chapter 9 Using the Replicator Each cell appears under of the Replicator object in the Layers tab and Timeline Layer list. Once replicated, the

Chapter 9 Using the Replicator 625 The replicator parameters are dynamic—different parameters appear depending on what shape is selected. For examp

626 Chapter 9 Using the Replicator Further, different parameters are also available depending on the selected arrangement for the shape. In the fol

Chapter 9 Using the Replicator 627 In addition, you can add behaviors to the replicator or its cells to create even more varied effects (simulation

628 Chapter 9 Using the Replicator Using the Replicator Library PresetsThe easiest way to add a replicator to your project is to use a replicator p

Chapter 9 Using the Replicator 629 Once you have added a replicator preset from the Library, it acts exactly as it appeared in the Preview area. If

Chapter 1 Getting To Know Motion 63 To hide a column:mClick the Show Columns button at the right of the column headers, then choose the item you wa

630 Chapter 9 Using the Replicator As mentioned above, the rest of the controls are dynamic—they appear depending what is selected from the Shape a

Chapter 9 Using the Replicator 631 2 Select the object, then do one of the following:• In the Toolbar, click the Replicate icon.• Choose Object >

632 Chapter 9 Using the Replicator • In the Canvas, the replicator bounding box appears, which can be transformed using the onscreen controls.• In

Chapter 9 Using the Replicator 633 Using Multiple Source Objects for the ReplicatorWhen you create a replicator pattern from scratch, you don’t hav

634 Chapter 9 Using the Replicator 2 Do one of the following:• In the Toolbar, click the Replicate icon.• Choose Object > Replicate (or press L)

Chapter 9 Using the Replicator 635 The elements in the pattern are stacked according to the order they appear in the Layers tab and Timeline Layer

636 Chapter 9 Using the Replicator Customizing a Replicator Using the DashboardWhen a replicator is created from a source object, the pattern is bu

Chapter 9 Using the Replicator 637 For replicators containing multiple cells, the Replicator Dashboard parameters simultaneously modify the cell’s

638 Chapter 9 Using the Replicator Shape: A pop-up menu that defines the shape of the replicator. The default shape is Rectangle. The shape option

Chapter 9 Using the Replicator 639 Columns: Defines the number of vertical columns in the pattern. Pattern elements are distributed at points alon

64 Chapter 1 Getting To Know Motion Open In QuickTime Player: Opens the selected item in the QuickTime Player application.Reveal in Finder: Switc

640 Chapter 9 Using the Replicator Note: To transform the replicator pattern in the Canvas, you can also use transform tools available in the Tool

Chapter 9 Using the Replicator 641 ScaleUsing the Scale parameter resizes the replicator object, affecting the size of the pattern elements. To mod

642 Chapter 9 Using the Replicator Drop ShadowDrop shadows can be applied to replicators. The drop shadow of the replicator affects objects composi

Chapter 9 Using the Replicator 643 While the duration of the source objects has no affect on the replicator, the duration of each cell affects how

644 Chapter 9 Using the Replicator Applying Masks to the ReplicatorAs shown in the following images, you can apply masks to the source object of a

Chapter 9 Using the Replicator 645 When a mask is applied to a replicator, the entire pattern is masked.For more information on working with masks,

646 Chapter 9 Using the Replicator For a replicator with only one cell (one source object), the replicator and replicator cell controls appear in t

Chapter 9 Using the Replicator 647 Each cell has its own Replicator Cell tab that contains all parameters for that cell. To access the cell paramet

648 Chapter 9 Using the Replicator The following options are available in the Shape pop-up menu:• Line: Elements are positioned on a line. Using t

Chapter 9 Using the Replicator 649 Use the following modifier keys to more precisely manipulate the corners of the Rectangle onscreen controls:• Op

Chapter 1 Getting To Know Motion 65 The Audio tab contains a number of columns with both display and editable information about the audio component

650 Chapter 9 Using the Replicator • Burst: Elements are positioned in a flare pattern. Using the onscreen controls (with the Adjust Item tool), y

Chapter 9 Using the Replicator 651 • Wave: Elements are positioned on a waveform. Using the onscreen control (with the Adjust Item tool) or the In

652 Chapter 9 Using the Replicator For information on using an image as a replicator shape, see “Using an Image for a Replicator Shape” on page 653

Chapter 9 Using the Replicator 653 Using an Image for a Replicator ShapeThe following section describes how to use an image as the source for a rep

654 Chapter 9 Using the Replicator Emission Alpha Cutoff (Image): When the Image Source object contains an alpha channel, this slider defines the

Chapter 9 Using the Replicator 655 The following images show the difference between the Clockwise and Counter Clockwise parameters, using a replica

656 Chapter 9 Using the Replicator Tile Offset: Specifies the amount (in percentage points) that the elements are offset from the pattern. Values

Chapter 9 Using the Replicator 657 • Lower Left: The elements originate in the lower-left corner of the pattern and end in the upper-right corner.

658 Chapter 9 Using the Replicator Line and Wave Shape ParametersWhen the selected shape is a Line or Wave, the following parameters become availab

Chapter 9 Using the Replicator 659 Points Per Arm: Defines the number of element points on each branch of the burst or spiral. When the Adjust Ite

66 Chapter 1 Getting To Know Motion 2 Navigate to the file you want to import, then select the file.3 Click OK. The file is added to the Audio tab.

660 Chapter 9 Using the Replicator The Shape Source well appears in the Inspector and Dashboard.3 From the Layers tab, drag the shape to the Shape

Chapter 9 Using the Replicator 661 Other Persistent ParametersIn addition to the Shape parameter, the Shuffle Order and Reverse Stacking parameters

662 Chapter 9 Using the Replicator Note: In general, the Cell Controls in the Replicator tab and the Replicator Cell tab are persistent. For more

Chapter 9 Using the Replicator 663 The cell parameters appear in the Cell Controls group.Replicator cell parameters01112.book Page 663 Sunday, Ma

664 Chapter 9 Using the Replicator To display the Cell Controls for a multi-cell replicator:1 In the Layers tab or Timeline Layer list select a cel

Chapter 9 Using the Replicator 665 Angle End: Specifies (in degrees) the rotation of the replicator elements at the end of the pattern. The angle

666 Chapter 9 Using the Replicator • Original: Elements are created using the original colors from the source object. When Original is chosen, the

Chapter 9 Using the Replicator 667 • Over Pattern: Elements are tinted based on how they are ordered in the pattern. The Gradient Editor defines t

668 Chapter 9 Using the Replicator Tip: When using images larger than the Canvas as a replicator shape image source, it is recommended that you en

Chapter 9 Using the Replicator 669 • Point Size: This parameter appears when Points is selected from the Show Objects As pop-up menu. This allows

Chapter 1 Getting To Know Motion 67 The Timing PaneAt some point in most projects, you will want to view the contents of your composition represent

670 Chapter 9 Using the Replicator • Wireframe: Each pattern element is represented by a bounding box. Since the bounding boxes are good indicator

Chapter 9 Using the Replicator 671 Random Seed: Although the result of adjusting the Angle Randomness, Scale Randomness, Pick From Range, Random S

672 Chapter 9 Using the Replicator Color Gradient: This gradient control appears when the Color Mode is set to Over Pattern. Use it to change the

Chapter 9 Using the Replicator 673 Random Start Frame: A checkbox that introduces variation into elements using QuickTime objects as their source

674 Chapter 9 Using the Replicator Keyframing the replicator parameters (or using Parameter behaviors) animates all elements in the replicator symm

Chapter 9 Using the Replicator 675 Note: When a shape that contains a gradient is selected in Adjust Control Points-mode, the onscreen gradient co

676 Chapter 9 Using the Replicator • Increase the Points value until the elements overlap. An element is created at every point on the shape. In th

Chapter 9 Using the Replicator 677 • Turn on Additive Blend.Align Angle parameterAdditive Blend parameter01112.book Page 677 Sunday, March 13, 20

678 Chapter 9 Using the Replicator The color values in every overlapping pixel are added together, and all overlapping midrange color values are li

Chapter 9 Using the Replicator 679 8 Set the Angle value to 240 degrees and the Scale value to 80 percent.9 Deselect the object (click in a gray ar

68 Chapter 1 Getting To Know Motion The TimelineThe Timeline is the most general of the Timing tabs. It can display not only the visual objects in

680 Chapter 9 Using the Replicator 3 In the Canvas, move the source object’s anchor point.The alignment of the elements to the replicator shape (th

Chapter 9 Using the Replicator 681 • Select the cell object to display animated parameters in the Cell Controls section of the Replicator tab or th

682 Chapter 9 Using the Replicator To apply a Sequence behavior to a replicator, do one of the following:mIn the Layers tab or Timeline Layer list,

Chapter 9 Using the Replicator 683 Adding Parameters to the Sequence Replicator BehaviorIn the following example, the Rotation, Opacity, and Scale

684 Chapter 9 Using the Replicator Each element rotates from 0 degrees to 160 degrees over the pattern over the duration of the Sequence Replicator

Chapter 9 Using the Replicator 685 Each element fades from 100 percent opacity to 0 percent opacity over the pattern over the duration of the Seque

686 Chapter 9 Using the Replicator Adjusting the Sequence Control ParametersOnce you have created a sequence animation, you can use the Sequence Co

Chapter 9 Using the Replicator 687 The sequence goes through a full animation cycle starting at the original value of the cells, moving to the valu

688 Chapter 9 Using the Replicator Modifying the Sequence Replicator BehaviorUse the Sequence Replicator controls to define how the change in cell

Chapter 9 Using the Replicator 689 Sequence ControlThe Sequence Control section of the Sequence Replicator behavior parameters contains controls th

Chapter 1 Getting To Know Motion 69 Lock: The third column contains the Lock control which prevents any changes from affecting the object. This co

690 Chapter 9 Using the Replicator • Custom: Allows you to use animation originally created in the source object’s parameters (except alpha parame

Chapter 9 Using the Replicator 691 • Object: Applies the sequence animation over each element as its own entity. Object is the default setting.• A

692 Chapter 9 Using the Replicator • Custom: Allows you to specify the percentage of elements in the pattern that are affected by the sequence ani

Chapter 9 Using the Replicator 693 • End: Specifies the end of the range of elements affected by the sequence animation as it moves over the repli

694 Chapter 9 Using the Replicator Using the Sequence Replicator Custom Traversal OptionWhen Traversal is set to Custom, you can create location ke

Chapter 9 Using the Replicator 695 The Location parameter becomes available.4 Enable Record (press A).5 At the frame where you want to begin the an

696 Chapter 9 Using the Replicator To apply a Parameter behavior to a Sequence Replicator behavior:1 In the Layers tab or Timeline Layer list, sele

Chapter 9 Using the Replicator 697 As previously noted, the replicator also has a special behavior called Sequence Replicator, which allows you to

698 Chapter 9 Using the Replicator Remember that behaviors often contain parameters that control how objects are affected. These controls greatly a

Chapter 9 Using the Replicator 699 Saving Custom Replicators to the LibraryOnce you have created a replicator that makes you particularly happy, yo

Contents 7950 What Is Field Order?951 Using Square or Nonsquare Pixels When Creating Graphics953 Differences in Color Between Computer and Video Graph

70 Chapter 1 Getting To Know Motion Display OptionsAs with the Layers tab, you can choose to show or hide effects such as masks, filters, and behav

01112.book Page 700 Sunday, March 13, 2005 10:36 PM

10 70110 Using FiltersFilters are an exciting way to spice up any motion graphics project. With the magic of Motion, you can preview and tweak im

702 Chapter 10 Using Filters Filter TypesThere are 12 types of filters in Motion, organized alphabetically in the Library. An Introduction to Filte

Chapter 10 Using Filters 703 To browse for a filter:1 In the Library, click the Filters category.A list of subcategories appears on the right side

704 Chapter 10 Using Filters To apply a filter, do one of the following:mDrag a filter to an object in the Canvas, Layers tab, or the Timeline.mSel

Chapter 10 Using Filters 705 Where Filters AppearOnce you apply a filter, it appears underneath the object to which it is applied in the Layers tab

706 Chapter 10 Using Filters Adjusting FiltersFilters can be tailored to your specific needs by adjusting their parameters. The parameters can be a

Chapter 10 Using Filters 707 In most cases, you interact manually with the parameters of a filter. The following image shows the Filters tab in the

708 Chapter 10 Using Filters To animate filter parameters using the Animation menu:1 Select the filter you want to animate.2 Go to the frame where

Chapter 10 Using Filters 709 4 Control-click Amount, then choose Randomize from the shortcut menu.The Behaviors icon appears in the Animation menu,

Chapter 1 Getting To Know Motion 71 Audio files appear in a separate section from visual objects. You can move the divider between the audio and vi

710 Chapter 10 Using Filters Enabling, Renaming, and Locking FiltersWhile the Filters tab in the Inspector contains all of the editable parameters

Chapter 10 Using Filters 711 Note: Pasting a filter does not paste it at the current playhead location. To quickly move the filter to the playhead

712 Chapter 10 Using Filters Duplicating FiltersYou can also duplicate a filter and apply the duplicate to another object.To duplicate a filter:mOp

Chapter 10 Using Filters 713 3 Release the mouse button when the position indicator is in the new location.Changing Filter TimingFilters appear as

714 Chapter 10 Using Filters 2 When the pointer changes to the Trim pointer, drag the In or Out point to change the duration of the filter.As you d

Chapter 10 Using Filters 715 Channel BlurGives you control over blurring each color channel of an object. The Channel blur can be applied selective

716 Chapter 10 Using Filters This filter is useful for quickly blurring a limited area within an image. For more sophisticated control of the image

Chapter 10 Using Filters 717 4 In the Filters tab of the Inspector, select the Compound Blur filter.5 Drag the desired object from the Media tab in

718 Chapter 10 Using Filters Sides: Sets the number of sides of the lens aperture, if Circle is set to Off. Values range from 3 to 12.Rotation: S

Chapter 10 Using Filters 719 Dashboard controlsThe Dashboard contains the same controls as the Inspector, with the exception of the Crop checkbox.G

72 Chapter 1 Getting To Know Motion You can also use the track height control at the bottom of the tab. Click the track size indicator to set the t

720 Chapter 10 Using Filters Parameters in the InspectorPoint 1: Sets the position of the first point of the gradient.Point 2: Sets the position

Chapter 10 Using Filters 721 Radial BlurThis filter creates a rotational blur centered on a point. The effect is similar to the motion blur you wou

722 Chapter 10 Using Filters Dashboard controlsThe Dashboard contains the Amount and Strength controls.Variable BlurA blur which can either include

Chapter 10 Using Filters 723 Zoom BlurThis filter creates a blur that simulates a fast camera zoom in to a point.Parameters in the InspectorAmount:

724 Chapter 10 Using Filters Simple BorderCreates a solid color border of variable width around the edges of an object.Parameters in the InspectorS

Chapter 10 Using Filters 725 Color Correction FiltersColor correction filters can be used in a number of ways. You can change a mood by making an o

726 Chapter 10 Using Filters Parameters in the InspectorRed from: The numerical value of red is replaced by the numerical value of color of the se

Chapter 10 Using Filters 727 Parameters in the InspectorShadow Red: Picks the color gain applied to the shadow range of the red color channel. Val

728 Chapter 10 Using Filters If two colors are selected, all color information in the object is reduced to the selected two colors; if three, they

Chapter 10 Using Filters 729 ColorizeSubstitutes the blacks and whites in an image with different colors you select. All other colors in the image

Chapter 1 Getting To Know Motion 73 The Track AreaThe main part of the Timeline, to the right of the Layer list, is the track area. Objects in your

730 Chapter 10 Using Filters ContrastAdjusts the contrast of an object.Parameters in the InspectorContrast: Sets the amount of contrast to be appl

Chapter 10 Using Filters 731 EqualizeRemaps the black and white points in an image, resulting in individual adjustments to the contrast in the dark

732 Chapter 10 Using Filters Gradient ColorizeColorizes an image, using color values instead of position to determine the application of the colors

Chapter 10 Using Filters 733 HSV AdjustAn alternate method of performing color correction based on the HSV color model. HSV is often used in color

734 Chapter 10 Using Filters Dashboard controlsThere are no controls for this filter in the Dashboard.LevelsThis filter provides controls to remap

Chapter 10 Using Filters 735 Dashboard controlsThere are no controls for this filter in the Dashboard.SaturateIncreases or decreases the amount of

736 Chapter 10 Using Filters ThresholdReduces all colors in an image to a duotone, with the additional ability to limit the range of midtones that

Chapter 10 Using Filters 737 Dashboard controlsThe Dashboard contains the same controls as the Inspector.Distortion FiltersDistortion filters are u

738 Chapter 10 Using Filters Dashboard controlsThe Dashboard contains the same controls as the Inspector.Black HoleThis filter appears to suck an i

Chapter 10 Using Filters 739 Parameters in the InspectorCenter: Sets the position of the center of the bulge.Amount: Sets the amount of the bulge

74 Chapter 1 Getting To Know Motion To collapse or expand a layer:mClick the disclosure triangle to the left of the layer name in the Timeline Laye

740 Chapter 10 Using Filters Disc WarpStretches the image outward around a circular region. As the radius of the warping region increases, the imag

Chapter 10 Using Filters 741 To learn how to add an object to the Map Image well, see “Compound Blur” on page 716.Parameters in the InspectorMap Im

742 Chapter 10 Using Filters Parameters in the InspectorCenter: Sets the position of the center of the droplet effect.Radius: Sets the radius of

Chapter 10 Using Filters 743 FisheyeDistorts an object as if it were seen through the view of a fisheye lens. The result is an extremely wide-angle

744 Chapter 10 Using Filters Fun HouseSimulates the distortion caused by an imperfectly shaped mirror, similar to those in a carnival fun house.Par

Chapter 10 Using Filters 745 Parameters in the InspectorCenter: Sets the position of the origin of the glass block effect.Scale: Sets the scale o

746 Chapter 10 Using Filters Insect EyeMaps a repeating hexagonal distortion pattern to an image, mimicking the POV of an insect.Parameters in the

Chapter 10 Using Filters 747 PokePushes the object into the Canvas at a specified point, as if it were poked. This filter is a subtler version of t

748 Chapter 10 Using Filters Refraction: Sets the amount that the image is refracted. Values range from 0 to 200.Height Map: An image well that d

Chapter 10 Using Filters 749 Ring WarpSimilar to the Ring Lens, but the image is distorted with multiple concentric rings. The number of rings can

Chapter 1 Getting To Know Motion 75 Markers can be added to your project to identify an important frame or range of frames. For more on creating an

750 Chapter 10 Using Filters ScrapeSmears an image along an angle defined by the Rotation parameter. The Scrape effect starts at the center point,

Chapter 10 Using Filters 751 StarburstRadiates solid-colored rays out from the center of your object. The colors are derived from pixel values arou

752 Chapter 10 Using Filters Parameters in the InspectorCenter: Sets the position of the center of the stripe effect.Angle: Sets the angle of the

Chapter 10 Using Filters 753 Twirl: Sets the angle of twirl.Center: Sets the position of the center of the twirl.Crop: Toggles whether the objec

754 Chapter 10 Using Filters AuraThis is a highly stylized filter that adds light or dark halos around well-defined areas of an image. The resultin

Chapter 10 Using Filters 755 BloomThis filter simulates the effect of extremely overexposed highlights on film. Highlights above a certain threshol

756 Chapter 10 Using Filters DazzleThis filter adds glowing star-shaped accents to the highlights in an image. This filter can be customized to cre

Chapter 10 Using Filters 757 GloomThis filter creates a muted, darker glow. The image is darkened, and areas of fine detail are evened out into lar

758 Chapter 10 Using Filters Light RaysA glow filter that uses the zoom blur to distribute the resulting glow, instead of a gaussian blur. The effe

Chapter 10 Using Filters 759 Horizontal: Sets the amount of horizontal offset for the glow. Values range from 0 to 100.Vertical: Sets the amount

76 Chapter 1 Getting To Know Motion The Zoom Time View button toggles between the Zoom to Play Range and Zoom to Project settings. If no play range

760 Chapter 10 Using Filters Keying FiltersKeying filters are used to isolate a subject that is surrounded by an area of fairly uniform color or br

Chapter 10 Using Filters 761 Parameters in the InspectorColor: Picks the color for your key. Use the disclosure triangle to display Red, Green, Bl

762 Chapter 10 Using Filters Backing Color: Pick the backing color for the matte. Use the disclosure triangle to display Red, Green, Blue, and Alp

Chapter 10 Using Filters 763 2 Import the foreground image for which a matte needs to be generated.3 Select the foreground object, and turn off the

764 Chapter 10 Using Filters Tweaking the Noise Removal parameter can help for blue or greenscreens that have some variance in their color value. A

Chapter 10 Using Filters 765 Matte FiltersMatte filters are used to modify mattes.Matte ChokerThis filter increases or decreases the semi-transpare

766 Chapter 10 Using Filters Sharpen FiltersThese filters sharpen images by creating a high contrast overlay that emphasizes edges within the image

Chapter 10 Using Filters 767 Stylize FiltersUnlike distortion filters, which warp and deform an image, filters in the stylize subcategory make an i

768 Chapter 10 Using Filters CrystallizeThis mosaic filter simulates the effect of viewing an image through a pane of glass with irregular facets p

Chapter 10 Using Filters 769 Edge WorkThis filter reduces an image to a high-contrast, grayscale version of itself. The detail in this grayscale im

Chapter 1 Getting To Know Motion 77 To display the Keyframe Editor, do one of the following:mChoose Window > Keyframe Editor.mPress Command+8.mI

770 Chapter 10 Using Filters EdgesAn edge detection filter that examines the luminance of an image to derive the high contrast borders between diff

Chapter 10 Using Filters 771 Parameters in the InspectorFront: Sets the position of the center point of the front face of the object. Values are c

772 Chapter 10 Using Filters HalftoneThis filter reduces an image to a black and white version of itself, simulating the halftone screening method

Chapter 10 Using Filters 773 Contrast: Sets the relative amount of contrast between light and dark areas. Values range from 0 to 0.99.Dashboard co

774 Chapter 10 Using Filters Parameters in the InspectorSoftness: Sets the softness of the transition between the flat and raised areas. Values ra

Chapter 10 Using Filters 775 This filter can be used to simulate a bright light source in the picture.Parameters in the InspectorCenter: Sets the

776 Chapter 10 Using Filters Streak Map: An image well that displays a thumbnail of the map chosen for the streaks of the lens flare.Dashboard con

Chapter 10 Using Filters 777 Line ScreenThis filter reduces an image to a high-contrast grayscale version of itself. It then screens it using a pat

778 Chapter 10 Using Filters MinMaxThis filter softly patterns an image by averaging pixels within the specified radius together by the minimum or

Chapter 10 Using Filters 779 Parameters in the InspectorDissolve Amount: Sets the percentage of pixels dissolved by noise.Random Seed: Sets a num

78 Chapter 1 Getting To Know Motion Name: Lists the name of the object and its parameters.Value: Displays the value for the current playhead posi

780 Chapter 10 Using Filters PosterizeThis filter reduces the number of colors in your object to a set number per color channel, adjustable using t

Chapter 10 Using Filters 781 Map Channel: Sets the channel used to calculate the height vertices. If a height map is present, the channel is selec

Slit TunnelSimulates a circular version of the slit scan process used to create “warp tunnel” images in science fiction films. This filter is automati

Chapter 10 Using Filters 783 Image Contrast: Sets the amount of contrast applied to the image by the screen. Values range from 0 to 20.Threshold:

784 Chapter 10 Using Filters Third Color: Picks the third color that is substituted.Fourth Color: Picks the fourth color that is substituted.Dash

Chapter 10 Using Filters 785 Wavy ScreenThis filter reduces an image to a high-contrast grayscale version of itself. It then screens it using a pat

786 Chapter 10 Using Filters KaleidoscopeThis filter simulates the effect of looking at an image through a kaleidoscope. It is not automatically an

Chapter 10 Using Filters 787 KaleidotileSimulates looking through a kaleidoscope with rectangular facets. It is not automatically animated, but by

788 Chapter 10 Using Filters Parallelogram TileSimulates looking through a kaleidoscope with facets made of parallelograms. It is not automatically

Chapter 10 Using Filters 789 Random Tile Tiles your object in an irregular pattern with circular panels.Parameters in the InspectorCenter: Sets th

Chapter 1 Getting To Know Motion 79 Animation Menu StatesDepending on the current condition of the parameter, the Animation menu displays a differe

790 Chapter 10 Using Filters Parameters in the InspectorCenter: Sets the position of the origin of the tiles.Skew: Sets the amount of skew applie

Chapter 10 Using Filters 791 EchoEchoes an object’s motion by repeating frames. The result is that moving areas of an image leave a streaking trail

792 Chapter 10 Using Filters TrailsDraws light or dark trails following an object’s movement. This filter is only effective with moving images.Para

Chapter 10 Using Filters 793 Video FiltersVideo filters are more utilitarian in nature, and can be used to help prepare a project for broadcast out

794 Chapter 10 Using Filters 3 In the “3rd Party Plug-ins” group, click Choose (next to Search Path).4 In the sheet, navigate to the folder that co

11 79511 Working With GeneratorsUse the generators in the Motion Library to quickly add life to your project.About GeneratorsGenerators are objec

796 Chapter 11 Working With Generators Like all other objects in Motion, generators can be moved, rotated, duplicated, copied and pasted, and anima

Chapter 11 Working With Generators 797 Generator TypesThere are two types of generators in the Library: animated and static. Both types of generat

798 Chapter 11 Working With Generators CellularThe Cellular generator creates an animated pattern that looks like cells moving under a microscope.

Chapter 11 Working With Generators 799 CloudsThe Clouds generator creates an animated cloud pattern. You can modify or animate the color, scale, sp

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80 Chapter 1 Getting To Know Motion The RulerAt the top of the keyframe graph is a ruler which provides a gauge for the positions and durations of

800 Chapter 11 Working With Generators Method: Sets the algorithm used to generate the clouds. Values can be set to Normal (default) or Turbulent.

Chapter 11 Working With Generators 801 GradientThe Gradient generator initially creates a non-animated blue-and-red linear gradient. You can change

802 Chapter 11 Working With Generators NoiseWhere would motion graphics artists be without a noise filter or generator? To make animated noise, you

Chapter 11 Working With Generators 803 Soft GradientThe Soft Gradient generator creates a soft-edged, radial gradient. The gradient contains an alp

804 Chapter 11 Working With Generators StripesThe Stripes generator creates a default image with vertical bands of two alternating colors. You can

Chapter 11 Working With Generators 805 Editing GeneratorsIn this section, the Checkerboard generator parameters are edited to modify the appearance

806 Chapter 11 Working With Generators 2 Click the Color 1 color well and select a new color. If you are using the color wheel, click the center po

Chapter 11 Working With Generators 807 Note: You can save a color in the swatches along the bottom of the Colors window. Click in the color bar (t

808 Chapter 11 Working With Generators Note: You can also use the standard object scaling methods—the onscreen transform controls or the Scale par

Chapter 11 Working With Generators 809 3 Set the initial generator parameter values:• Drag the Size slider to set the initial checker size.Once a k

Chapter 1 Getting To Know Motion 81 Control ButtonsIn the lower-left corner of the Keyframe Editor, four buttons provide additional control over th

810 Chapter 11 Working With Generators 3 In the Library, navigate to the Generators category.Note: You can also save the modified generator in ano

Chapter 11 Working With Generators 811 Sharing Saved GeneratorsBy default, any generator that you save in the Library is stored in your user folder

812 Chapter 11 Working With Generators 3 Control-click the Spike Opacity parameter, then choose Randomize from the shortcut menu.The Randomize para

Chapter 11 Working With Generators 813 When a Parameter behavior is applied to a parameter, a Behaviors icon appears in the Animation menu for that

To increase or decrease the effect of the flicker, you can modify the Randomize parameters. To quickly jump to the Randomize parameters from the Gener

Chapter 11 Working With Generators 815 To use a generator as a particle cell source:1 Add the Soft Gradient generator to your project.2 In the Dash

816 Chapter 11 Working With Generators • The original reference object (the Soft Gradient) is disabled.• In the Canvas, the emitter bounding box ap

Chapter 11 Working With Generators 817 You can change the particle color, emitter shape, scale, emission angle, birth rate, and so on in the Emitte

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12 81912 Using Shapes and MasksMotion has a flexible tool set that you can use to create both simple shapes and complex illustrations, right in y

82 Chapter 1 Getting To Know Motion The Audio EditorThe Audio Editor provides a view of your audio elements over time. You can view and modify the

820 Chapter 12 Using Shapes and Masks The Difference Between Shapes and MasksShapes are primarily used to create all kinds of visual elements. They

Chapter 12 Using Shapes and Masks 821 Bezier splines are good for drawing shapes for illustration. The controls used to manipulate Bezier splines a

822 Chapter 12 Using Shapes and Masks To draw a Bezier shape:1 Click the Bezier shape tool in the Toolbar (or press B).2 Click in the Canvas to dra

Chapter 12 Using Shapes and Masks 823 5 To finish the shape, do one of the following:• Click the first point you drew to create a closed shape.• Pr

824 Chapter 12 Using Shapes and Masks As you create new B-Spline control points, keep the following rules in mind:• The control points you draw inf

Chapter 12 Using Shapes and Masks 825 • In many instances, it is easier to create a loose group of control points first, and then adjust them after

826 Chapter 12 Using Shapes and Masks • Press Return to finish an open shape at the last point you made.• Double-click anywhere in the Canvas to de

Chapter 12 Using Shapes and Masks 827 Turning Dynamic Guides On or Off While EditingThe Canvas Dynamic Guides help you snap the selected points to

828 Chapter 12 Using Shapes and Masks To show a shape’s control points for point-by-point editing:1 Click the Select/Transform tool, then choose th

Chapter 12 Using Shapes and Masks 829 To move one or more control points:mSelect one or more points, then drag them to a new position.As you drag o

Chapter 1 Getting To Know Motion 83 Playback ControlsThe playback controls in the Audio Editor do not control playback in the Canvas. This allows y

830 Chapter 12 Using Shapes and Masks Adding more control points does not immediately change a Bezier shape, unless you drag Bezier curve points as

Chapter 12 Using Shapes and Masks 831 To delete control points from a shape:1 Select a shape with the Adjust Control Points tool.2 Select one or mo

832 Chapter 12 Using Shapes and Masks If the point was unlocked, it becomes locked. If the point was locked, Unlock Point appears in the shortcut m

Chapter 12 Using Shapes and Masks 833 To adjust a Bezier curve using the control point’s tangent handles, do one of the following:mDrag a tangent h

834 Chapter 12 Using Shapes and Masks Important: If automatic keyframing is enabled, curve adjustments are keyframed, creating animated shape chan

Chapter 12 Using Shapes and Masks 835 By default, B-Spline shapes have no corners. While this is the default behavior, you can adjust the amount of

836 Chapter 12 Using Shapes and Masks Additional Shape Parameters in the DashboardWhen you create and select shapes, additional parameters appear i

Chapter 12 Using Shapes and Masks 837 • B-Spline: Control points are all B-Spline points, with different degrees of curvature. B-Spline control po

838 Chapter 12 Using Shapes and Masks The controls for the Gradient Editor are identical to the gradient controls for text, with one exception. The

Chapter 12 Using Shapes and Masks 839 • Bevel: All corners are cut at an angle.Order: A pop-up menu lets you choose whether an outline is drawn o

84 Chapter 1 Getting To Know Motion To change the object end time, do one of the following:mDrag the center of the Out control. Dragging to the rig

840 Chapter 12 Using Shapes and Masks Note: You cannot feather an object with Outline turned on.Creating Rectangles and CirclesThe Rectangle and C

Chapter 12 Using Shapes and Masks 841 2 Click in the Canvas to define the start point of the bounding box that defines the circle, then drag until

842 Chapter 12 Using Shapes and Masks Creating Freehand ShapesUse the Bezier and B-Spline shape tools to create any kind of line or shape you need.

Chapter 12 Using Shapes and Masks 843 4 By default, new closed shapes are filled. To make the shape empty, select it, then turn off the Fill checkb

844 Chapter 12 Using Shapes and Masks Positive values spread the feathering outward, while negative values feather the shape inward.Tip: You can a

Chapter 12 Using Shapes and Masks 845 Organizing Objects Used in Multi-Shape IllustrationsWhen you create illustrations using groups of shapes, it

846 Chapter 12 Using Shapes and Masks Creating Holes and Transparency in ShapesThere are several ways you can create holes and transparency within

Chapter 12 Using Shapes and Masks 847 Applying Filters to ShapesYou can apply filters to shapes, just like any other object. When you apply a filte

848 Chapter 12 Using Shapes and Masks Keyframing Shape AnimationYou can also keyframe a shape’s animation parameter to animate adjustments to its i

Chapter 12 Using Shapes and Masks 849 3 Move to the frame where you want to change the shape, then make any necessary changes to the shape’s contro

Chapter 1 Getting To Know Motion 85 The Pan ControlThe fourth row contains controls to adjust and animate the selected file’s pan setting (left-rig

850 Chapter 12 Using Shapes and Masks The animated shape object interpolates between each keyframed shape. If you don’t like how the interpolation

Chapter 12 Using Shapes and Masks 851 Masking Objects to Create TransparencyWhen you create a mask to define transparency within an object, you’re

852 Chapter 12 Using Shapes and Masks Drawing and editing masks using these tools works identically to drawing and editing shapes. The main differe

Chapter 12 Using Shapes and Masks 853 3 Begin drawing the shape you need to mask the object. For more information about how to draw and edit shapes

854 Chapter 12 Using Shapes and Masks You can create multiple masks for a single object. To add additional masks, select the object again, then fol

Chapter 12 Using Shapes and Masks 855 • Add: This is the default selection for new masks. Each new mask adds to the existing alpha channel. This i

856 Chapter 12 Using Shapes and Masks • Replace: This setting uses the current mask to completely replace the object’s original alpha channel, as

Chapter 12 Using Shapes and Masks 857 Feather: A slider that feathers (softens) the edges of a mask. Positive feathering values soften the edge of

858 Chapter 12 Using Shapes and Masks Whatever the reason, you can easily combine multiple masks for any object by adjusting each mask’s Mask Blend

Chapter 12 Using Shapes and Masks 859 Note: To display the rest of a masked object so you can trace it to create a second mask, turn off the first

86 Chapter 1 Getting To Know Motion The Audio Editor Keyframe GraphThe remainder of the window contains the keyframe graph. This area contains the

860 Chapter 12 Using Shapes and Masks Feathering MasksOne of the easiest ways to adjust a mask is to feather its edges. Feathering a mask by a few

Chapter 12 Using Shapes and Masks 861 3 Do one of the following:• Drag the Feather value slider to the right for a positive value to feather the ma

862 Chapter 12 Using Shapes and Masks To apply a filter to a mask, do one of the following:mDrag a filter from the Library directly onto a mask in

Chapter 12 Using Shapes and Masks 863 To rotoscope a subject by animating a mask:1 Choose View > Resolution > Full to ensure that you are vie

864 Chapter 12 Using Shapes and Masks In this example, the best frame to start with when rotoscoping the dolphin in the example below is the one wh

Chapter 12 Using Shapes and Masks 865 Every time you move the playhead to a new frame and make a change to the mask’s shape, a keyframe is automati

866 Chapter 12 Using Shapes and Masks The power of image masks is that they do not have to be drawn or animated. Instead, you can use virtually any

Chapter 12 Using Shapes and Masks 867 4 Do one of the following:• Open the Image Mask tab in the Inspector, then drag the object you want to use as

868 Chapter 12 Using Shapes and Masks Image: An image well that assigns a shape, text object, image, movie, or numbered image sequence to use to m

Chapter 12 Using Shapes and Masks 869 • Replace: This setting uses the current mask to completely replace the object’s original alpha channel, as

Chapter 1 Getting To Know Motion 87 Markers can be added to your project to identify an important frame or range of frames. For more information on

870 Chapter 12 Using Shapes and Masks Garbage MasksThe second step in most keying shots is to create a garbage mask to crop out unwanted objects in

Chapter 12 Using Shapes and Masks 871 Holdout MasksSometimes, while pulling a key, you lose part of the image you’re trying to keep. This can happe

872 Chapter 12 Using Shapes and Masks Note: You may need to animate the holdout mask if the subject is moving.4 On the newly duplicated layer, del

Chapter 12 Using Shapes and Masks 873 4 Apply the appropriate keying filter to each of the isolated parts of the subject, and adjust each filter’s

874 Chapter 12 Using Shapes and Masks Channel Blur: This filter, found in the Blur category of the Filters library, lets you selectively blur the

Chapter 12 Using Shapes and Masks 875 • Feather: A slider that allows you to adjust edge translucence. Lower values reduce the amount of transluce

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13 87713 Working With AudioSound is an integral part of many motion graphics projects. Use audio in your project for background music, dialogue,

878 Chapter 13 Working With Audio You can add keyframes for volume and pan to an audio track and trim an audio track in the Audio Editor. You can a

Chapter 13 Working With Audio 879 When you add an audio file to your project, Motion converts it to its own internal format. This allows you to use

88 Chapter 1 Getting To Know Motion The File BrowserThe File Browser is a view of all of the files on your computer. Navigating the File Browser is

880 Chapter 13 Working With Audio Adding an Audio FileTo work with audio in your project, you start by adding an audio file to the project.Note: A

Chapter 13 Working With Audio 881 The audio file is added to the project, and appears in the Audio tab of the Project pane, the Audio Editor, and t

882 Chapter 13 Working With Audio Note: Although you can import files that contain multiple audio tracks into Motion, when you export your project

Chapter 13 Working With Audio 883 In the Layers tab, the link icon also appears in the Lock column for the object, indicating the object has a corr

884 Chapter 13 Working With Audio 3 Choose an import option from the Audio pop-up menu (located at the bottom of the Import Files dialog), then cli

Chapter 13 Working With Audio 885 Note: When a multi-channel audio file is imported without using the drop menu, Mix To Stereo is the default impo

886 Chapter 13 Working With Audio The waveform of the selected file appears in the Audio Editor.Viewing the audio waveform can be useful in the Key

Chapter 13 Working With Audio 887 To duplicate an audio track:mIn the Audio tab, select the audio track, then do one of the following:• Choose Edit

888 Chapter 13 Working With Audio To turn an audio track on or off, do one of the following:mIn the Audio tab of the Project pane, click the activa

Chapter 13 Working With Audio 889 Muting and Soloing TracksWhen you mute an audio track, it is silent during playback, but is still part of the mix

Chapter 1 Getting To Know Motion 89 The SidebarThe middle section of the File Browser contains navigational controls as well as a list of servers,

890 Chapter 13 Working With Audio Setting Track PanningPan refers the left-right balance of a track in the stereo field. You can adjust a track’s p

Chapter 13 Working With Audio 891 You select the Master track by clicking its area at the bottom of the Audio tab. When selected, the Master track

892 Chapter 13 Working With Audio Once you determine which track is causing the clipping, you can lower the track’s overall level, or use keyframes

Chapter 13 Working With Audio 893 Note: You can also show and slip the timebar for an audio track in the Timeline by clicking the Audio Scrubbing

894 Chapter 13 Working With Audio mPosition the pointer over the number in either the In or Out field, and the drag pointer appears. Drag left to i

Chapter 13 Working With Audio 895 Recording KeyframesYou can record keyframes for audio level and pan by clicking the Record button, then moving th

896 Chapter 13 Working With Audio 3 Drag the keyframe up or down to set the pan position you want at a specific time. Drag down to pan to the left,

Chapter 13 Working With Audio 897 Using Markers With AudioWhen you add project markers to the Timeline, they appear in all three tabs of the Timing

898 Chapter 13 Working With Audio Note: For more information on Soundtrack Pro, see the Soundtrack Pro documentation.Exporting AudioA Motion proje

14 89914 Exporting Motion ProjectsExporting your project renders it into a movie or series of still frames, based on your export choices. You can

9PrefaceMotion 2 Documentation and ResourcesMotion is an exciting new motion graphics application that lets you create content for broadcast and

90 Chapter 1 Getting To Know Motion You can Control-click an object in the File Browser stack to display a shortcut menu. For most items, the follo

900 Chapter 14 Exporting Motion ProjectsExporting Your ProjectWhen you export your project, you can choose the kind of export and which media to in

Chapter 14 Exporting Motion Projects 901 Choosing the Export TypeYou can export your project as a QuickTime movie or as a numbered sequence of imag

902 Chapter 14 Exporting Motion ProjectsChoosing an Export PresetMotion includes export presets for many typical work situations. There are presets

Chapter 14 Exporting Motion Projects 903 3 Click a preset in the list, and its settings appear in the Summary field at the right, along with a brie

904 Chapter 14 Exporting Motion ProjectsDuplicating an Export PresetYou can duplicate an existing preset, and use it as the starting point for crea

Chapter 14 Exporting Motion Projects 905 To delete an export preset:1 Choose Motion > Preferences, then click Presets.2 Choose Export Presets fr

906 Chapter 14 Exporting Motion Projects• If you are exporting an image sequence, type a number for the starting frame of the sequence in the “Star

Chapter 14 Exporting Motion Projects 907 When this checkbox is turned on, the Color option is set to Color + Alpha, and the “Premultiply alpha” opt

908 Chapter 14 Exporting Motion Projects3 In the Compression Settings dialog, choose the settings you want.• Choose a codec from the Compression po

Chapter 14 Exporting Motion Projects 909 3 In the Sound Settings dialog, choose the settings you want. • Choose a codec to compress the audio from

Chapter 1 Getting To Know Motion 91 Organizing Your FilesYou can organize the files and folders displayed in the File Browser just as you manipulat

910 Chapter 14 Exporting Motion ProjectsTo export a project using Compressor from within Motion:1 Choose File > Export Using Compressor.The Comp

Chapter 14 Exporting Motion Projects 911 The Batch Monitor window appears with your project listed in the upper window. A progress bar shows the pr

912 Chapter 14 Exporting Motion ProjectsUsing Compressor PresetsCompressor includes a large number of presets, including video, image, and audio pr

913AppendixAA Keyboard ShortcutsUse keyboard shortcuts to streamline your work in Motion. The following tables organize the keyboard shortcuts b

914 Appendix A Keyboard ShortcutsClose all open projects.Import a file.Export a project.Export a project using Compressor.Print the current view of

Appendix A Keyboard Shortcuts 915Motion MenuFile MenuDisplay Page Setup sheet.Hide Motion.Hide other open application files.Quit Motion.Play/Pause

916 Appendix A Keyboard ShortcutsEdit MenuClose a project.Save a project.Save a project as a new project.Import a file.Import files as a project.Ex

Appendix A Keyboard Shortcuts 917Mark MenuPaste specialDuplicateDeletePerform a ripple delete which removes the selected object and closes the gap

918 Appendix A Keyboard ShortcutsPlay/Pause a project.Enable/Disable loop playback.Record animation.Open the Recording Options dialog.Go to the sta

Appendix A Keyboard Shortcuts 919Object MenuRender a RAM Preview for the selected object.Render a RAM Preview for the entire project.Key command Fu

92 Chapter 1 Getting To Know Motion In icon view, you can control the size of the icons using the Size slider at the bottom of the window.To change

920 Appendix A Keyboard ShortcutsView MenuReplicate the selected object.Open the Media tab and Inspector to display the source and properties of me

Appendix A Keyboard Shortcuts 921Toggle between the current channel and alpha channels.Show the Canvas at full resolution.Enable/Disable field rend

922 Appendix A Keyboard ShortcutsWindow MenuKey command FunctionMinimize the active window.Show the project in Standard layout.Show the project in

Appendix A Keyboard Shortcuts 923Help MenuAudio EditorAudio TabShow/Hide the Keyframe Editor.Show/Hide the Audio Editor.Key command Function+8x+9xK

924 Appendix A Keyboard ShortcutsCanvasView Group (includes Transform modes)Move down one level in the Audio list.Import.Key command Function+IxKey

Appendix A Keyboard Shortcuts 925Create GroupCrop an object proportionally from its center.Pan a cropped object within the bounding box.Move the bo

926 Appendix A Keyboard ShortcutsDraw a shape proportionally.Draw a shape from its center.Draw a shape proportionally from its center.Snap the rota

Appendix A Keyboard Shortcuts 927Double-click or Add a point to path.Adjust a B-Spline point bias.Toggle a B-Spline point bias.Cancel shape drawing

928 Appendix A Keyboard ShortcutsMask GroupDeselect All.Exit Text tool.Key command Function+shift+AxescKey command FunctionRectangle & Circle M

Appendix A Keyboard Shortcuts 929Bezier Mask ToolSelect the Bezier Mask tool.Toggle between the Bezier Mask and B-Spline Mask tools.Close mask.Doub

Chapter 1 Getting To Know Motion 93 To import a series of numbered still images as a single object:1 Click the “Show collapsed image sequences” but

930 Appendix A Keyboard ShortcutsTransport ControlsView OptionsCancel shape drawing and delete the open shape.Exit shape drawing mode.Key command F

Appendix A Keyboard Shortcuts 931Zoom to region.Zoom to 100 percent.Zoom to fit in the Canvas.Show all color channels.Show the transparent channel.

932 Appendix A Keyboard ShortcutsMiscellaneousShow/Hide the Dynamic Guides.Show/Hide the Film Zones.Show the overlays.Toggle between the current ch

Appendix A Keyboard Shortcuts 933DashboardFile BrowserKey command FunctionShow/Hide the Dashboard.Cycle through the Dashboards from top to bottom (

934 Appendix A Keyboard ShortcutsInspectorKeyframe EditorLayersKey command FunctionShow/Hide the Inspector.Increase a slider value by an increment

Appendix A Keyboard Shortcuts 935LibraryUngroup a group of objects so you can manipulate the objects individually.Make the object active or deactiv

936 Appendix A Keyboard ShortcutsMedia TabTimelineEditing and Navigating Move right one item in the file stack.Move up one level in the folder hier

Appendix A Keyboard Shortcuts 937Reset the play range by moving the In and Out points to the first and last frames of the project.Enable/Disable lo

938 Appendix A Keyboard ShortcutsKeyframing CommandsOpen the Edit Marker dialog.Play/Pause the project.Record animation.Go to the start of project.

Appendix A Keyboard Shortcuts 939Shape and Mask CommandsToolbarKey command FunctionDraw a shape proportionally with the Rectangle, Circle Shape, an

94 Chapter 1 Getting To Know Motion To play a preview of an effect such as a generator:mClick the object you want to preview.The preview starts pla

940 Appendix A Keyboard ShortcutsSelect the Pan tool.Select the Zoom tool.Select the Rectangle Shape tool.Select the Circle Shape tool.Toggle betwe

941AppendixBB Video and File FormatsMotion supports a wide variety of media and video formats for broadcast and multimedia. This appendix covers

942 Appendix B Video and File Formats • DV/DVCPRO - NTSC• DVCPRO - PAL• DVCPRO HD 1080i50, 1080i60, and 720p60• DVCPRO50 - NTSC• DVCPRO50 - PAL• Un

Appendix B Video and File Formats 943 Other image formatsIn addition, Motion includes special support for the following image types:• Layered Photo

944 Appendix B Video and File Formats Standard Definition vs. High Definition Video FormatsMotion is extremely flexible and can work with both high

Appendix B Video and File Formats 945 Standard definition DV formats include DV, DVCAM, DVCPRO25, and DVCPRO50.High Definition VideoAll high defini

946 Appendix B Video and File Formats Frame rates intended for broadcast video use can be interlaced, similar to standard definition video on a tel

Appendix B Video and File Formats 947 Supported DVCPRO HD FormatsMotion natively supports the following DVCPRO HD formats.Note: Motion also suppor

948 Appendix B Video and File Formats Choosing a Frame RateMost DVCPRO HD cameras and decks allow two types of video frame rates:• Integer frame ra

Appendix B Video and File Formats 949 Video footage, which generally has more grain, noise, and variations of texture and color than animated mater

Chapter 1 Getting To Know Motion 95 Search: Filters the contents of the file stack to include only those objects whose names contain the text you

950 Appendix B Video and File Formats Third-party codecsThere are several manufacturers of video-editing solutions, most of whom use different vari

Appendix B Video and File Formats 951 Using Square or Nonsquare Pixels When Creating GraphicsWhen you’re preparing to import graphics into Motion,

952 Appendix B Video and File Formats Working With Standard Definition (SD) Video Monitors and Computer DisplaysStandard definition (SD) video moni

Appendix B Video and File Formats 953 Differences in Color Between Computer and Video GraphicsYou should also be aware that the range of colors tha

954 Appendix B Video and File Formats To scale an imported graphic to match the frame size of a sequence, use the following:Creating Graphics for H

955AppendixCC Integration With Final Cut ProMotion graphics work is often part of a larger project being edited in Final Cut Pro. The nature of

956 Appendix C Integration With Final Cut Pro What Happens When a Motion Project Is Imported or Embedded?Although you cannot edit the actual import

Appendix C Integration With Final Cut Pro 957 Important: Any media clips used in the Motion project, such as movies or still images, need to be av

958 Appendix C Integration With Final Cut Pro This lets you start the arrangement of a composition in Final Cut Pro and then export the items (with

Appendix C Integration With Final Cut Pro 959 Note: When a clip that contains a freeze frame or time remapping in Final Cut Pro is exported, the f

96 Chapter 1 Getting To Know Motion Text Styles: Contains a collection of preset type styles that can be applied to text objects.Music: This Libr

960 Appendix C Integration With Final Cut Pro Note: Whether or not the Motion project clip is embedded in the Final Cut Pro sequence, a new sequen

961AppendixDD Using GesturesIf you use a Wacom tablet and pen with your computer system, you can use gestures to navigate within Motion and to p

962 Appendix D Using Gestures Important: Gestures in Motion use the Inkwell technology in the Mac OS X operating system. In order to use gestures,

Appendix D Using Gestures 963 Gestures in the AirYou can use gestures by swiping just above the tablet, without the tip of the pen actually touchin

964 Appendix D Using Gestures To disable the default gesture sound:1 Click the Options button in Ink Preferences.2 In the Ink sheet, turn off “Play

Appendix D Using Gestures 965 5 Click the Motion icon, then set your pen tool options in the Tool Buttons tab.6 To set customized tool settings for

966 Appendix D Using Gestures Playback Control GesturesUse the gestures described in the following table for controlling playback.General Navigatio

Appendix D Using Gestures 967 Select the Zoom tool. To zoom in and out of the Canvas, move the pen left or right. The zoom is centered on the area

968 Appendix D Using Gestures General CommandsThe following table describes the gestures for general commands, such as undo, select, and copy and p

Appendix D Using Gestures 969 Timeline Navigation and Editing GesturesThe following table describes the gestures used for Timeline navigation and e

Chapter 1 Getting To Know Motion 97 Organizing Your EffectsYou can organize the effects and folders displayed in the Library just as you manipulate

970 Appendix D Using Gestures Go to end of the currently selected object.GroupUngroupSet a local In point for the currently selected object.To move

Appendix D Using Gestures 971 Add an object marker. • To edit an object marker, press Shift.• To clear an object marker, press Option.Set the start

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973IndexIndex3D filter 737AAAC files 174, 878Action Safe Region 116Active command 61Add blend mode 257Addingcategories to Template Browser 214ke

974 Index Attracted To behavior 371Attractor behavior 373Audioexporting 898exporting options 908multi-channel files 884showing in Keyframe Edi

975 Index BBackground color 40, 199Background opacity 146Baking behaviors 343Baking behaviors into keyframes 343Basic 3D filter 737Basic Motio

976 Index where they appear 321Wind 390Wriggle 367Behaviors tab 103Behind blend mode 268Bevel Filters 723Bezier animation paths 409Bezier in

977 Index transforms in 221transport controls 20, 45view options 38, 41zooming 39Zoom Level pop-up menu 39Canvas transform modes 225Canvas zo

978 Index Convert to Bezier 440Copyingbehaviors 332filters 710in Layers tab 61in the Timeline 298keyframes 435Corner-pinning objects 238Corr

979 Index Drop shadowsabout 269adding to text objects 508adjusting 237adjusting on text objects 508blur amount 271Dashboard controls 270defau

98 Chapter 1 Getting To Know Motion The InspectorEvery effect in Motion, from behaviors to particle systems to gradients, is controlled by a collec

980 Index Exportingadvanced options 907audio 898audio files 912current frame 901defining output type 901image sequences 901play range 909pro

981 Index applying to masks 861applying to particle systems 612applying to shapes 847applying to text objects 463Aura 754Basic 3D 737Bevel 7

982 Index Ripple 749Saturate 735Scrape 750Sepia 735Set Matte 765Sharpen 766Sharpening 766showing in the Timeline 280Simple Border 724slipp

983 Index Noise 802Op Art 802saving 809sharing 811Soft Gradient 803Star 803Stripes 804Swirly 804types of 797using as particle cell sources

984 Index about 865adding to an object 866applying behaviors to 869applying filters to 869blend modes 868channels 866parameters 867Imagesadd

985 Index general 18, 913general interface 913Help menu 923Mark menu 917Motion menu 915Object menu 919project controls 915, 916transport con

986 Index shape control points 848shapes 848thinning 428trimming keyframed effects 423Keyingusing multiple keys 872Keying filters 760–764LLat

987 Index saving a generator in 809saving custom particle effects to 619saving text styles to 512Search field 95Shapes category 95Text Styles

988 Index motion blur 862moving control points 828parameters 854–857particle systems 582replacing an alpha channel 859rotoscoping 862selectin

989 Index NNamein Media tab 61Navigatingfile path 162in the Timeline 306to keyframes 417Negate behavior 360Negative filter 734Nested objects

Chapter 1 Getting To Know Motion 99 Control Control type DescriptionSlider Perhaps the most basic type of control, dragging the thumb of a slider

990 Index Panresetting in the Canvas 40Panningaudio 890audio tracks 890in Audio Editor 85Pan tool 29Parallelogram Tile filter 788Parameter be

991 Index Pixel aspect ratio 146, 186, 951–952Pixel color status 37Pixellate filter 779Pixelsgraphics creation and 951nonsquare 951–952square

992 Index closing 156creating 139–149creating from project presets 142creating from templates 141custom settings 143embedding in Final Cut Pro

993 Index line and wave shape parameters 658parameters for 647properties 639removing 632removing source objects from 635replacing source image

994 Index creating illustrations 844creating transparency in 846Dashboard 836differing from masks 820drawing a Bezier shape 821drawing a B-Spl

995 Index Stripes generator 804Strobe filter 791Stylize filters 767–785Subcategoriesadding to a category 193Subtract blend mode 253Support 12

replacing a texture 494resetting a parameter 473resetting a parameter group 474rotating characters 478saving a custom style 512saving gradients t

Composite edit 283, 285copying and pasting 298creating new layers 72, 288, 289defining the play range 308deleting all markers 314deleting keyfram

Keyframe Editor 21, 76Timeline 21, 68Tint filter 736Title Safe Region 116Toolbar 27–35Add Behavior icon 31Add Filter icon 31adding controls to

Index 999Type On text behavior 546changing speed of 547modifying 547UUncompressed video 948Ungroupingin Layers tab 61objects 291Unsharp Mask