Apple Motion 3 Bedienungsanleitung

Motion 3User Manual

10 Preface Motion 3 Documentation and Resources Supplemental DocumentationThe Motion Supplemental Documentation PDF contains information about 3D c

100 Chapter 1 Getting to Know Motion Animation Menu StatesDepending on the current condition of the parameter for the selected object, the Animatio

1000 Chapter 12 Using Shapes and Masks B-Splines can also be used to draw shapes, but unlike Bezier controls, B-Splines are manipulated using only

Chapter 12 Using Shapes and Masks 1001 The Bezier Tool HUD appears. To change the color of the shape before it is drawn, use the color controls in

1002 Chapter 12 Using Shapes and Masks  Click the first point you drew to create a closed shape. Press C to close the shape, joining the first po

Chapter 12 Using Shapes and Masks 1003 To draw a B-Spline shape:1 Click the B-Spline tool in the Toolbar (or press B).Note: The B-Spline Mask tool

1004 Chapter 12 Using Shapes and Masks  To create more detailed curves, create more points. However, it’s a good habit to use the fewest number of

Chapter 12 Using Shapes and Masks 1005  Press C to close the shape, joining the first point you created to the last. Press Return to finish an op

1006 Chapter 12 Using Shapes and Masks Immediately after finishing a shape, the Shape HUD appears and the Adjust Control Points tool is selected, w

Chapter 12 Using Shapes and Masks 1007 Continue drawing around the object you are masking. To close the mask, finish the line at the mask’s startin

1008 Chapter 12 Using Shapes and Masks By default, the Outline checkbox is selected for open shapes.To edit a shape’s outline:1 Select a shape, the

Chapter 12 Using Shapes and Masks 1009 To edit a shape’s fill:1 Select a shape, then open the Shape tab in the Inspector.2 Do one of the following:

Chapter 1 Getting to Know Motion 101 Box: Drag a selection box to enclose and manipulate keyframes.Keyframe Editor Control ButtonsIn the lower-lef

1010 Chapter 12 Using Shapes and Masks Creating Rectangles, Circles, and LinesThe Rectangle and Line tools create simple linear shapes. The Circle

Chapter 12 Using Shapes and Masks 1011 The Circle Tool HUD appears. To change the color of the shape before it is drawn, use the color controls in

1012 Chapter 12 Using Shapes and Masks 3 Once the shape is created, press S or Esc to select the Select/Transform tool to exit line-drawing mode.Th

Chapter 12 Using Shapes and Masks 1013 Note: The strokes’ shape (defined by its control points) and open/closed state can be modified in the Canva

1014 Chapter 12 Using Shapes and Masks To make a paint stroke:1 Select the Paint Stroke tool (or press P).Important: The Paint Stroke tool HUD app

Chapter 12 Using Shapes and Masks 1015 The Paint Stroke Tool HUD is replaced with the Shape: Paint Stroke HUD. The Paint Stroke HUD parameters are

1016 Chapter 12 Using Shapes and Masks Pen Speed: When you are using a pen and tablet or mouse to create paint strokes, this pop-up menu allows yo

Chapter 12 Using Shapes and Masks 1017 To preview the paint stroke in the Paint Stroke Tool HUD’s sketch area:1 Click the Paint Stroke tool in the

1018 Chapter 12 Using Shapes and Masks Note: If you press Command and then drag a control point, adjustable tangent handles are created. If you pr

Chapter 12 Using Shapes and Masks 1019 m Click and hold the Select/Transform tool, choose the Adjust Control Points tool from the pop-up menu, then

102 Chapter 1 Getting to Know Motion Take/Show curve snapshots: When this setting is enabled, as you move keyframes in the Keyframe Editor, the or

1020 Chapter 12 Using Shapes and Masks To select a specific control point (based on the order the shape is drawn):m Click any control point to disp

Chapter 12 Using Shapes and Masks 1021 Â Control-click the edge, then choose Add Point from the shortcut menu.Adding more control points does not i

1022 Chapter 12 Using Shapes and Masks m Display the Geometry pane in the Shape tab of the Inspector, then select Closed.You can reopen the shape b

Chapter 12 Using Shapes and Masks 1023 Locking Control PointsYou can lock individual control points in a shape to fix them in place and prevent the

1024 Chapter 12 Using Shapes and Masks To toggle control points between corners and curves, do one of the following:m Command-click a curved point

Chapter 12 Using Shapes and Masks 1025 m Control-click a handle control point and choose Break Handle from the shortcut menu to break the relations

1026 Chapter 12 Using Shapes and Masks The simplest, and usually fastest, way to manipulate B-Spline curves is to move one or more B-Spline points

Chapter 12 Using Shapes and Masks 1027 To switch a B-Spline control point among three degrees of curvature, do one of the following:m Command-click

1028 Chapter 12 Using Shapes and Masks Modify any Outline parameter you want. In this example, the outline is widened and colored orange.Note: A l

Chapter 12 Using Shapes and Masks 1029 4 In the Shape tab of the Inspector, choose Airbrush from the Brush Type pop-up menu.Once the Brush Type is

Chapter 1 Getting to Know Motion 103 RulerAt the top of the keyframe graph is a ruler that provides a visual gauge for the positions and durations

1030 Chapter 12 Using Shapes and Masks For a complete description of these parameters, see “Style Pane Outline Controls” on page 1043, “Stroke Pane

Chapter 12 Using Shapes and Masks 1031 Shape Parameters in the HUDOnce a shape (including paint strokes) is created and selected, the Shape HUD app

1032 Chapter 12 Using Shapes and Masks Style Pane ParametersThe Shape tab’s Style pane contains controls to modify the fill and outline of a shape,

Chapter 12 Using Shapes and Masks 1033 Fill Color: These controls let you pick a color fill for the shape. To define a color, do one of the follow

1034 Chapter 12 Using Shapes and Masks Opacity: Sets the transparency of the selected opacity tag (in the bar above the gradient bar). The opacity

Chapter 12 Using Shapes and Masks 1035 Feather: Use the slider or value field to soften the gradient fill. Positive values soften the shape outwar

1036 Chapter 12 Using Shapes and Masks  Click a color tag, then use the individual Red, Green, or Blue color channel slider. Click a color tag, t

Chapter 12 Using Shapes and Masks 1037 The Location parameter is also updated as you move the spread control, indicating its position on the gradie

1038 Chapter 12 Using Shapes and Masks The tag is removed with a “poof.”To change the opacity of a gradient color:1 Click an opacity tag.The opacit

Chapter 12 Using Shapes and Masks 1039 To change the direction of a shape’s gradient:1 With the shape selected, click the Gradient disclosure trian

104 Chapter 1 Getting to Know Motion Audio EditorThe Audio Editor provides a view of your audio elements over time. You can view and modify the lev

1040 Chapter 12 Using Shapes and Masks The custom gradient appears in the Gradients category in the Library. Custom presets can be identified in th

Chapter 12 Using Shapes and Masks 1041 To change the location of the gradient tags:m To change the location of the gradient color, drag the color t

1042 Chapter 12 Using Shapes and Masks To add an opacity tag, do one of the following:m Control-click the gradient control line at the location you

Chapter 12 Using Shapes and Masks 1043 Style Pane Outline ControlsThe shape Outline controls allow you to customize the outline of a shape. You can

1044 Chapter 12 Using Shapes and Masks  Airbrush: Creates an outline made up of editable brush strokes referred to as dabs. You can set the dabs

Chapter 12 Using Shapes and Masks 1045 This parameter allows you to define a different opacity value for a shape and its outline.Width: A slider t

1046 Chapter 12 Using Shapes and Masks  Over Fill: Outlines appear on top of the selected fill of the shape. Under Fill: Outlines are obscured

Chapter 12 Using Shapes and Masks 1047 There are four options: Square: The cap is squared off. Round: The cap is rounded. Bevel: The cap is c

1048 Chapter 12 Using Shapes and Masks  Play Frames: A checkbox that controls playback. If the checkbox is selected, it loops the playback of the

Chapter 12 Using Shapes and Masks 1049 Stroke Pane ControlsOnce an airbrush or image paint stroke has been created using the Paint Stroke tool, a s

Chapter 1 Getting to Know Motion 105 Audio Editor ControlsThe left side of the Audio Editor contains four rows of controls for the audio track curr

1050 Chapter 12 Using Shapes and Masks Opacity Over Stroke: An opacity control that appears when Stroke Color Mode is set to Use Brush Color. Use

Chapter 12 Using Shapes and Masks 1051 Â Color Repetitions: Drag this slider to increase the number of times the gradient is repeated over the str

1052 Chapter 12 Using Shapes and Masks In the following illustrations, the Spacing Over Stroke curve is adjusted so that a greater value is used at

Chapter 12 Using Shapes and Masks 1053 Width Over Stroke: This mini-curve editor allows you to customize the width of the dabs over the length of

1054 Chapter 12 Using Shapes and Masks Brush Scale: A slider and value field that allow you to change the size of the brush (the source of the dab

Chapter 12 Using Shapes and Masks 1055 Â Stroke Length: Stroke Length is mapped horizontally on the mini-curve editor graph and provides a visual

1056 Chapter 12 Using Shapes and Masks Important: Although the Local 3D checkbox is turned on, paint strokes do not intersect with the "globa

Chapter 12 Using Shapes and Masks 1057 Â Stroke Length: Stroke Length is mapped horizontally on the mini-curve editor graph and provides a visual

1058 Chapter 12 Using Shapes and Masks Emission Range: A dial and value slider that restrict the area in which the dabs travel, in the direction o

Chapter 12 Using Shapes and Masks 1059 These controls are identical to the Apply Pen Speed (Shape behavior) parameters. For a description of the Pe

106 Chapter 1 Getting to Know Motion To change the playhead position, do one of the following:m Drag the center of the current frame field. Draggin

1060 Chapter 12 Using Shapes and Masks The Control Points parameter also contains an Animation menu, which allows you to add keyframes, reset the s

Chapter 12 Using Shapes and Masks 1061 Each of these groups can in turn be nested inside a larger enveloping group that can be used to transform or

1062 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 1063 Applying Filters to ShapesYou can apply filters to shapes, just like any other layer. When you apply a filte

1064 Chapter 12 Using Shapes and Masks Basic Motion and Simulation behaviors animate multiple parameters of a shape parameters, such as Position, R

Chapter 12 Using Shapes and Masks 1065 Min Pressure: Adjusts the minimum threshold of pressure sensitivity. Pressure values below the minimum valu

1066 Chapter 12 Using Shapes and Masks  Angle: The faster the movement of the pen, the greater the angle of the stroke dabs. Jitter: The faster

Chapter 12 Using Shapes and Masks 1067 Â Jitter: The greater the tilt of the stylus, the larger the amount of jitter on the stroke. Jitter randomi

1068 Chapter 12 Using Shapes and Masks When the Oscillate Shape behavior is applied to a shape, all control points of the shape are affected by def

Chapter 12 Using Shapes and Masks 1069 Â Point Origin: Each vertex’s oscillation is generated from a point. You can change the location of the poi

Chapter 1 Getting to Know Motion 107 Activation checkbox: This checkbox at the left of the row turns the display of the level animation curve on a

1070 Chapter 12 Using Shapes and Masks When the Randomize Shape behavior is applied to a shape, all control points of the shape are affected by def

Chapter 12 Using Shapes and Masks 1071 Apply Mode: A pop-up menu that determines how values generated by this behavior are combined with other beh

1072 Chapter 12 Using Shapes and Masks For an example of using a sequence behavior, see “Using the Sequence Replicator Behavior” on page 821.The Se

Chapter 12 Using Shapes and Masks 1073 Sequence ControlThe Sequence Control section of the Sequence Paint behavior parameters contains controls tha

1074 Chapter 12 Using Shapes and Masks Unit Size: Specifies whether the sequence animation is applied to the stroke as a whole, to its individual

Chapter 12 Using Shapes and Masks 1075 Loops: Sets the number of times the animation sequences through the paint stroke over its duration.Note: L

1076 Chapter 12 Using Shapes and Masks Parameters in the InspectorAmount/Multiplier: This parameter is set to Amount when the Apply Mode is set to

Chapter 12 Using Shapes and Masks 1077 Write OnThe Write On behavior provides a quick way to draw a paint stroke or outline on the Canvas over time

1078 Chapter 12 Using Shapes and Masks  Constant: The stroke is drawn at a steady speed from the first to the last point in the stroke. Ease In:

Chapter 12 Using Shapes and Masks 1079 3 In the Canvas, create your stroke.4 Once the stroke is complete, press Esc to exit the paint mode.The Pain

108 Chapter 1 Getting to Know Motion Level MetersAudio level meters appear at the right side of the Audio Editor controls. There are two vertical b

1080 Chapter 12 Using Shapes and Masks Note: You can leave the Fill checkbox selected, but only the outline is affected by the Write On behavior.2

Chapter 12 Using Shapes and Masks 1081 The shape’s control points appear in the Canvas. In this example, the selected shape is the lower lip of the

1082 Chapter 12 Using Shapes and Masks 4 Continue advancing frames and making changes as needed. Every time you make a change to the shape at a new

Chapter 12 Using Shapes and Masks 1083 Each customized shape or shape style saved to the Library is saved as a separate file in the Motion folder o

1084 Chapter 12 Using Shapes and Masks 4 To name the file, do one of the following:Â Control-click the icon, choose Rename from the shortcut menu,

Chapter 12 Using Shapes and Masks 1085 To apply a shape style to a shape, do one of the following:m With the shape selected, click the Style pane i

1086 Chapter 12 Using Shapes and Masks To move a shape to a custom folder in a Library subcategory:m Drag the shape to the new folder in the Librar

Chapter 12 Using Shapes and Masks 1087 Masking Layers to Create TransparencyWhen you create a mask to define transparency within a layer, you’re dr

1088 Chapter 12 Using Shapes and Masks Important: A mask cannot be applied to a nonflattened 3D group. (To flatten a 3D group, turn on the Flatten

Chapter 12 Using Shapes and Masks 1089 2 Choose a mask drawing tool (the Rectangle Mask tool, the Circle Mask tool, the Freehand Mask tool, the Bez

Chapter 1 Getting to Know Motion 109 At the top of the graph a green bar shows the duration of the audio file. As you change the file’s In and Out

1090 Chapter 12 Using Shapes and Masks After you’ve finished drawing the mask, its effect is immediate, and the mask you created appears nested und

Chapter 12 Using Shapes and Masks 1091 To isolate a layer:1 In the 3D project, select the layer that you want to mask. In this example, the center

1092 Chapter 12 Using Shapes and Masks 3 To return to your previous view (the view before you isolated the layer), click the Isolate button again.N

Chapter 12 Using Shapes and Masks 1093 Â Add: This is the default selection for new masks. Each new mask adds to the existing alpha channel. This

1094 Chapter 12 Using Shapes and Masks  Subtract: Subtracts a mask from the alpha channel. This is useful for creating holes in the middle of obj

Chapter 12 Using Shapes and Masks 1095 Â Intersect: Masks that are set to intersect do not replace an object’s original alpha channel. Instead, th

1096 Chapter 12 Using Shapes and Masks Combining Multiple MasksOften, you may find that it is impossible to create the mask shape you need using on

Chapter 12 Using Shapes and Masks 1097 Each mask’s blend mode determines whether the mask adds to, subtracts from, or replaces a layer’s previously

1098 Chapter 12 Using Shapes and Masks Predictably, masks set to Subtract have the opposite effect, creating black areas in the layer’s alpha chann

Chapter 12 Using Shapes and Masks 1099 Feathering MasksOne of the easiest ways to adjust a mask is to feather its edges. Feathering a mask by a few

Preface Motion 3 Documentation and Resources 11 To provide comments and feedback to Apple about Motion, go to:Â http://www.apple.com/feedback/motio

110 Chapter 1 Getting to Know Motion Audio ScrubbingYou can choose whether or not you want to hear the audio play when you drag the playhead throug

1100 Chapter 12 Using Shapes and Masks Applying Filters to MasksAs with shapes, you can apply filters to masks, which remain editable even after th

Chapter 12 Using Shapes and Masks 1101 Applying Behaviors to MasksYou can apply behaviors directly to masks. When you apply a behavior to a mask, t

1102 Chapter 12 Using Shapes and Masks To rotoscope a subject by animating a mask:1 Choose View > Resolution > Full to ensure that you are vi

Chapter 12 Using Shapes and Masks 1103 In this example, the best place to start when rotoscoping the dolphin is the frame in which all the fins are

1104 Chapter 12 Using Shapes and Masks Every time you move the playhead to a new frame and make a change to the mask’s shape, a keyframe is automat

Chapter 12 Using Shapes and Masks 1105 The power of image masks is that they do not have to be drawn or animated. Instead, you can use virtually an

1106 Chapter 12 Using Shapes and Masks  Open the Image Mask tab in the Inspector, then drag the layer you want to use as the mask into the Mask So

Chapter 12 Using Shapes and Masks 1107 Frame: When you use a movie or image sequence as the assigned image, this slider allows you to select the s

1108 Chapter 12 Using Shapes and Masks  Replace: This setting uses the current mask to completely replace the layer’s original alpha channel, as

Chapter 12 Using Shapes and Masks 1109 Garbage MasksThe second step in many keying shots is to create a garbage mask to crop out unwanted objects i

Chapter 1 Getting to Know Motion 111 To play a preview of a file on disk:m Select the file in the File Browser.The preview starts playing.Note: If

1110 Chapter 12 Using Shapes and Masks Holdout MasksSometimes, while pulling a key, you lose part of the image you’re trying to keep. This can happ

Chapter 12 Using Shapes and Masks 1111 Make sure that the mask is entirely within the subject being keyed.Note: You may need to animate the holdou

1112 Chapter 12 Using Shapes and Masks Performing Multiple Keys on a Single SubjectIn some instances, it may be difficult to key an entire subject

Chapter 12 Using Shapes and Masks 1113 The process of improving a keying effect, or of customizing an alpha channel created using one or more shape

1114 Chapter 12 Using Shapes and Masks Matte Choker: This filter, found in the Matte subcategory of the Filters library, increases or decreases th

Chapter 12 Using Shapes and Masks 1115 About Rasterization and GroupsSome operations, as well the application of certain filters or a mask, cause a

1116 Chapter 12 Using Shapes and Masks  A small outline appears around the rasterized 2D group, 3D group, emitter, replicator, or text icon (to th

13 111713 Working with AudioSound is an integral part of many motion graphics projects. Use audio in your project for background music, dialogue,

1118 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 or in the

Chapter 13 Working with Audio 1119 When you add an audio file to your project, Motion converts it to its own internal format. This allows you to us

112 Chapter 1 Getting to Know Motion Path pop-up menu: Displays the file system hierarchy (folders inside of folders) for the currently viewed fol

1120 Chapter 13 Working with Audio  Dragging the file to the Audio tab adds the audio file to the Media tab and the Audio tab.m Drag the file from

Chapter 13 Working with Audio 1121 The audio file is added to the project and appears in the Audio tab of the Project pane, the Audio Editor, and t

1122 Chapter 13 Working with Audio When you add any media file to Motion, an audio track appears that can be used independently of the video file.

Chapter 13 Working with Audio 1123 In the Layers tab, the link icon also appears in the Lock column for the object, indicating the object has a cor

1124 Chapter 13 Working with Audio Viewing Audio FilesYou can view a listing of all the audio tracks in your project and view the audio waveform fo

Chapter 13 Working with Audio 1125 Viewing the audio waveform can be useful in the Keyframe Editor to synchronize motion and other parameter change

1126 Chapter 13 Working with Audio Deleting an Audio FileThere are two ways to remove an audio track from your project.To delete an audio track:m I

Chapter 13 Working with Audio 1127 To turn an audio track on or off, do one of the following:m In the Audio tab of the Project pane, click the acti

1128 Chapter 13 Working with Audio Muting and Soloing TracksWhen you mute an audio track, it is silent during playback, but is still part of the mi

Chapter 13 Working with Audio 1129 Selecting Output ChannelsIf you’re working with multichannel audio, you can adjust which tracks are assigned to

Chapter 1 Getting to Know Motion 113 To rename a folder or file, do one of the following:m Control-click the file or folder, then choose Rename fro

1130 Chapter 13 Working with Audio Working with the Master TrackEach project has a Master audio track. The controls for the Master track are locate

Chapter 13 Working with Audio 1131 Viewing the Master LevelTo the right of the Master track controls is a pair of stereo level meters that display

1132 Chapter 13 Working with Audio The Master pan slider works in conjunction with the pan setting for each individual track. For example, if you p

Chapter 13 Working with Audio 1133 2 In the Audio Editor or the mini-Timeline, position the pointer over the beginning or end of the timebar, and t

1134 Chapter 13 Working with Audio 3 Drag the playhead in the Audio Editor left or right. Keep the pointer still to loop continuously on the frames

Chapter 13 Working with Audio 1135 3 Drag the keyframe up or down to set the level you want at a specific time. Drag down to lower the level, or dr

1136 Chapter 13 Working with Audio Syncing Audio and Video TracksMotion lets you determine how to handle the playback of audio if the audio tracks

Chapter 13 Working with Audio 1137 Â Loop: When the last frame of the audio clip is reached, it loops back to the first frame and plays again. Thi

1138 Chapter 13 Working with Audio Looping an Audio ClipAnother way of extending a clip’s duration is by looping it. You can easily loop a clip by

Chapter 13 Working with Audio 1139 For information on adding and deleting markers, moving markers, editing marker information, and using markers, s

114 Chapter 1 Getting to Know Motion Icon View and List ViewThe file stack can be displayed in icon view or list view. Each view is useful for diff

1140 Chapter 13 Working with Audio Gain: Sets the target gain used for volume. Values range from –96 dB to +6 dB.Loops: Sets the number of times

Chapter 13 Working with Audio 1141 End Offset: Sets the number of frames from the end of the audio before which the animation stops. Adjust this p

1142 Chapter 13 Working with Audio Graph Range: Sets the initial range of frequency values to be analyzed by the behavior. Can be set to All Frequ

Chapter 13 Working with Audio 1143 Sensitivity: Sets the sensitivity of the transient detection. Values range from 0% to 100%. This parameter is o

1144 Chapter 13 Working with Audio Attack: The amount of the offset in frames between the first keyframe of the curve and the peak of the curve ge

Chapter 13 Working with Audio 1145 The Save As dialog appears.Note: If Soundtrack Pro is not installed on your system, Send to Soundtrack Pro is n

1146 Chapter 13 Working with Audio 3 Choose QuickTime Movie from the Kind pop-up menu.4 Choose an export preset from the Export Preset pop-up menu,

14 114714 Exporting Motion ProjectsExporting your project renders it into a movie or series of still frames, based on your export choices. You ca

1148 Chapter 14 Exporting Motion Projects Exporting Your ProjectWhen you export your project, you can choose the kind of export and which media to

Chapter 14 Exporting Motion Projects 1149 9 Click Export.An Export progress window appears, and shows the time elapsed and time remaining. Dependin

Chapter 1 Getting to Know Motion 115 To sort the File Browser list:m Click the header for the column you want to sort.The column header darkens and

1150 Chapter 14 Exporting Motion Projects Choosing an Export PresetMotion includes export presets for many typical work situations. There are prese

Chapter 14 Exporting Motion Projects 1151 Image Sequence presets JPEG Sequence OpenEXR Sequence Photoshop Sequence PICT Sequence PNG SequenceÂ

1152 Chapter 14 Exporting Motion Projects 3 Click a preset in the list, and its settings appear in the Summary field at the right, along with a bri

Chapter 14 Exporting Motion Projects 1153 Duplicating an Export PresetYou can duplicate an existing preset, and use it as the starting point for cr

1154 Chapter 14 Exporting Motion Projects Deleting an Export PresetIf you decide you no longer need an export preset, you can delete it. You can de

Chapter 14 Exporting Motion Projects 1155 Â Drag the Quality slider to adjust the level of compression. You can also type a value between 1 and 100

1156 Chapter 14 Exporting Motion Projects  Turn on the “Use current project and canvas settings” checkbox to use the current project settings as d

Chapter 14 Exporting Motion Projects 1157 3 In the Compression Settings dialog, choose the settings you want:Â Choose a codec from the “Compression

1158 Chapter 14 Exporting Motion Projects 4 In the Sound Settings dialog, choose the settings you want:a Choose a codec to compress the audio from

Chapter 14 Exporting Motion Projects 1159 If you choose Stereo mix, you can export your project from Motion in either mono or stereo. If you choose

116 Chapter 1 Getting to Know Motion Library content can be expanded by adding certain plug-ins, fonts, music, or photos, as well as by saving cont

1160 Chapter 14 Exporting Motion Projects Exporting a Play RangeIf you have defined a play range for your project, you can export the entire length

Chapter 14 Exporting Motion Projects 1161 To export a project using Compressor from within Motion:1 Choose File > Export Using Compressor.The Co

1162 Chapter 14 Exporting Motion Projects 9 Click the Submit button. The Submit dialog appears.10 Check the Name field to confirm the batch name.11

Chapter 14 Exporting Motion Projects 1163 To export a project from within Compressor:1 Open Compressor.The Batch window appears.2 Drag the project

1164 Chapter 14 Exporting Motion Projects 10 Use the Priority pop-up menu to choose the priority level for the batch.11 Click Submit to submit the

Chapter 14 Exporting Motion Projects 1165 If your new projects are defaulting to a different project size, choose Edit > Project Properties (or

1166 Chapter 14 Exporting Motion Projects Your exported file is saved to the specified location.After you export audio as a QuickTime movie, you ca

1167AAppendixA Keyboard ShortcutsUse keyboard shortcuts to streamline your work in Motion. The following tables organize the keyboard shortcuts

1168 Appendix A Keyboard ShortcutsSave all open projects.Close a project.Close all open projects.Import a file.Export a project.Export a project us

Appendix A Keyboard Shortcuts 1169Motion MenuFile MenuOpen Motion Preferences.Open Motion Help.Display Page Setup dialog.Hide Motion.Hide other ope

Chapter 1 Getting to Know Motion 117 Note: To add behaviors and filters, a third option is available. You can select an object or objects in the p

1170 Appendix A Keyboard ShortcutsEdit MenuOpen a template.Close a project.Save a project.Save a project as a new project.Import a file.Import file

Appendix A Keyboard Shortcuts 1171Mark MenuPastePaste special.DuplicateDeletePerform a ripple delete which removes the selected object and closes t

1172 Appendix A Keyboard ShortcutsReset the play range by moving the In and Out points to the first and last frame of the project.Play/Pause a proj

Appendix A Keyboard Shortcuts 1173Object MenuRender a RAM Preview for the selected object.Render a RAM Preview for the entire project.Key command F

1174 Appendix A Keyboard ShortcutsView MenuAdd an image mask to the selected object.Add keyframe (to the last modified parameter for the selected o

Appendix A Keyboard Shortcuts 1175Show all color channels.Show the transparent channel.Show the alpha channel overlay.Show the RGB channels only.Sh

1176 Appendix A Keyboard ShortcutsWindow MenuShow/Hide the Dynamic Guides.Show/Hide the Safe Zones.Show/Hide the Film Zones.Lock the guides.Enable/

Appendix A Keyboard Shortcuts 1177Help MenuAudio EditorShow/Hide the Timing pane.Show/Hide the HUD.Show/Hide the File Browser.Show/Hide the Library

1178 Appendix A Keyboard ShortcutsAudio TabCanvasView Group (Includes Transform Tools)Record animation. Add a marker at the current frame.Key comma

Appendix A Keyboard Shortcuts 1179Override snapping while moving an object.Duplicate a selected object.Select/Transform ToolScale an object proport

118 Chapter 1 Getting to Know Motion SidebarThe middle section of the Library contains navigational controls as well as a list of folders of effect

1180 Appendix A Keyboard ShortcutsCreate GroupToggle a B-Spline point bias.Break or relink a tangent handle.Constrain a tangent to 45° and original

Appendix A Keyboard Shortcuts 1181Convert a point to linear.Create tangents on point.Scale tangents proportionally.Break or relink a tangent handle

1182 Appendix A Keyboard ShortcutsMask Group,,,Move the insertion point by character.,,,Move the insertion point by word.Move to the beginning of a

Appendix A Keyboard Shortcuts 1183Draw a shape from its center.Draw a shape proportionally from its center.Snap the rotation of an object to 45° in

1184 Appendix A Keyboard ShortcutsTransport ControlsDouble-click or Add a point to path.Adjust a B-Spline point bias.Toggle a B-Spline point bias.C

Appendix A Keyboard Shortcuts 1185View OptionsKey command FunctionZoom In.Zoom Out.Zoom Out with the Zoom tool selected.Zoom to region.Zoom to 100

1186 Appendix A Keyboard ShortcutsMiscellaneousLock the guides.Show/Hide the grid.Show/Hide the guides.Show/Hide dynamic guides.Show/Hide film zone

Appendix A Keyboard Shortcuts 1187HUDFile BrowserAdd/Remove selected objects using the region box.Select multiple objects in a group or layer.Add t

1188 Appendix A Keyboard ShortcutsInspectorKeyframe EditorSelect first item in the file stack.Move up one level in the folder hierarchy of the file

Appendix A Keyboard Shortcuts 1189LayersShow shear curves.Show anchor point curves.Show opacity curves.Key command FunctionH A O Key command Functi

Chapter 1 Getting to Know Motion 119 Note: Behaviors, filters, fonts, LiveFonts, images, image sequences, and movies cannot be added to a theme. H

1190 Appendix A Keyboard ShortcutsLibraryMedia TabCollapse a group in the Layers list.ImportAdd an image mask to the selected object.Convert the ap

Appendix A Keyboard Shortcuts 1191TimelineEditing and Navigating Move down one level in the Media list.ImportKey command FunctionI Key command Func

1192 Appendix A Keyboard ShortcutsGo to the Out point of the selected object.Go to the previous frame.Go to the next frame.Go backward ten frames.G

Appendix A Keyboard Shortcuts 1193Keyframing CommandsShape and Mask CommandsPerform a ripple delete.Paste special.Key command Functiondelete shift

1194 Appendix A Keyboard ShortcutsToolbarDouble-click or Add a point to path.Convert a point to linear.Create tangents on point.Scale tangents prop

Appendix A Keyboard Shortcuts 11953D Commands Select the Text tool.Select the Rectangle Mask tool.Select the Circle Mask tool.Toggle between the Be

1196 Appendix A Keyboard ShortcutsUsing the Command EditorMotion provides a wide variety of menu commands and keyboard shortcuts that let you contr

Appendix A Keyboard Shortcuts 1197The Command Editor appears.Command Editor InterfaceThe upper half of the Command Editor displays a virtual keyboa

1198 Appendix A Keyboard ShortcutsChoosing a SetBy default, Motion uses the Standard Set of commands, with the language choice that you specified w

Appendix A Keyboard Shortcuts 1199The Command List immediately displays the search results, listing all commands and key combinations related to th

120 Chapter 1 Getting to Know Motion Library ContentThe Library contains all of the effects, presets, fonts, and other content available within Mot

1200 Appendix A Keyboard ShortcutsFiltering the View by Modifier KeysYou can use the Modifier buttons (Command, Shift, Option, and Control) at the

Appendix A Keyboard Shortcuts 1201Customizing Keyboard ShortcutsCustomizing shortcuts in the Command Editor is fast and easy. Because the default S

1202 Appendix A Keyboard ShortcutsImporting and Exporting Command SetsOnce you save a command set, you may want to export it to create a backup or

1203BAppendixB Video and File FormatsMotion supports a wide variety of media and video formats for broadcast and multimedia. This appendix cover

1204 Appendix B Video and File Formats DV/DVCPRO - NTSC DVCPRO - PAL DVCPRO HD 1080i50, 1080i60, 1080p25, 1080p30, and 720p50, 720p60 DVCPRO50

Appendix B Video and File Formats 1205  MacPaint TIFF TGA JPEG-2 QuickTime Image Files Open EXROther Image FormatsIn addition, Motion include

1206 Appendix B Video and File FormatsFor more information about the file formats supported by Motion, go to the Motion website at: http://www.ap

Appendix B Video and File Formats 1207 Standard definition DV formats include DV, DVCAM, DVCPRO25, and DVCPRO50.High Definition VideoAll high defin

1208 Appendix B Video and File FormatsFrame rates intended for broadcast video use can be interlaced, similar to standard definition video on a te

Appendix B Video and File Formats 1209 Supported DVCPRO HD FormatsMotion natively supports the following DVCPRO HD formats.Note: Motion also suppo

Chapter 1 Getting to Know Motion 121 Fonts: Contains all of the fonts available on your system. It includes both TrueType and Type 1 fonts. You ca

1210 Appendix B Video and File FormatsChoosing a Frame RateMost DVCPRO HD cameras and decks allow two types of video frame rates:Â Integer frame r

Appendix B Video and File Formats 1211 Video footage, which generally has more grain, noise, and variations of texture and color than animated mate

1212 Appendix B Video and File FormatsJPEGJPEG is similar to M-JPEG, except that the compression artifacts can be less severe at similar data rate

Appendix B Video and File Formats 1213 Using Square or Nonsquare Pixels When Creating GraphicsWhen you’re preparing to import graphics into Motion,

1214 Appendix B Video and File FormatsWorking with Standard Definition (SD) Video Monitors and Computer DisplaysStandard definition (SD) video mon

Appendix B Video and File Formats 1215 Differences in Color Between Computer and Video GraphicsYou should also be aware that the range of colors th

1216 Appendix B Video and File FormatsCreating Graphics for HD ProjectsCreating graphics and still images for high definition video projects is th

1217CAppendixC Working with Final Cut ProYou can add Motion projects directly to sequences in Final Cut Pro and send Final Cut Pro sequence clip

1218 Appendix C Working with Final Cut ProImporting a Motion Project into Final Cut ProYou can import Motion projects into Final Cut Pro to quickl

Appendix C Working with Final Cut Pro 1219 To reconnect a Motion clip to an updated Motion project, do one of the following:m Initiate the Motion p

122 Chapter 1 Getting to Know Motion Note: The Preview area does not display descriptions of built-in presets copied to the Favorites category. Co

1220 Appendix C Working with Final Cut ProSelecting Clips or Sequences to Send to MotionThe Send To Motion Project command behaves slightly differ

Appendix C Working with Final Cut Pro 1221 A new Motion project is created. If you selected the Launch Motion option, the new project opens in Moti

1222 Appendix C Working with Final Cut ProIf you don’t select turn on the Embed Motion Content checkbox, the selected sequence clips are still cop

Appendix C Working with Final Cut Pro 1223 Using Motion Templates in Final Cut ProIn Motion, templates are useful when you are creating a number of

1224 Appendix C Working with Final Cut Pro Text: You can edit the content, Text Size, and Text Tracking of text in template clips in Final Cut P

Appendix C Working with Final Cut Pro 1225 m Select an existing object in the canvas, then turn on the Drop Zone checkbox in the Image tab of the I

1226 Appendix C Working with Final Cut ProThe Save dialog appears.Note: It is recommended that you create a new custom theme in which to save you

Appendix C Working with Final Cut Pro 1227 Master Templates in Final Cut ProMaster templates can be used in any number of sequences within any numb

1228 Appendix C Working with Final Cut ProTo replace the media in a drop zone:1 Open the clip containing media you wish to replace in the Viewer.2

Appendix C Working with Final Cut Pro 1229 To open a master template from within Final Cut Pro, do one of the following:m Select the master templat

Chapter 1 Getting to Know Motion 123 Icon View and List ViewThe file stack can be displayed in icon view or list view.To view the Library in icon v

1230 Appendix C Working with Final Cut ProUsing Float Precision with Motion Content in Final Cut ProWhen embedding Motion content in Final Cut Pro

1231DAppendixD Using GesturesIf you use a Wacom tablet and pen with your computer system, you can use gestures to navigate within Motion and to

1232 Appendix D Using GesturesImportant: Gestures in Motion use the Inkwell technology in the Mac OS X operating system. In order to use gestures

Appendix D Using Gestures 1233 By default, a “whoosh” sound is played when gestures are drawn.To disable the default gesture sound:1 Click the Opti

1234 Appendix D Using GesturesUsing GesturesThe following illustration shows the basic gesture anatomy. The green dot represents the start of the

Appendix D Using Gestures 1235 General NavigationUse the gestures in the following table for general navigation, such as zooming the Canvas and dis

1236 Appendix D Using GesturesSet the Canvas to Home (100 percent).Fit the Canvas in the window.To toggle the Canvas to full-screen mode, press Sh

Appendix D Using Gestures 1237 General Commands The following table describes the gestures for general commands, such as undo, select, and copy

1238 Appendix D Using GesturesTimeline Navigation and Editing GesturesThe following table describes the gestures used for Timeline navigation and

Appendix D Using Gestures 1239 Set a local In point for the currently selected object.To move the In point to the current playhead position, press

124 Chapter 1 Getting to Know Motion Although you can save custom objects into their namesake folders, it is generally recommended that you save cu

1241EAppendixE Using Motion and After EffectsAdobe After Effects integrationYou can import a Motion project directly into an After Effects proje

1242 Appendix E Using Motion and After Effects7 Click OK to import the Motion project.The Motion project, identified by the Motion icon, is listed

1243IndexIndex2D compositing 152D groupsdefined 18rasterization and 708, 709, 772triggering rasterization 2882D mode2D/3D status 68flattene

1244 Index3D overlays 46, 1733D Overlays submenu commands 1733D paint strokes 10553D parameter 8033D particle emittersexamples 744, 748parameters

Index 1245Amplitude slider 442, 722Analog video 1206Analysis indicator 314Anchor points3D objects 274changing 273masks 1104Motion Path behavior

1246 IndexAttach to Emitter parameter 704Attach To Emitter slider 731Attack parameter 1144Attract To image well 480Attracted To behavior 460Attra

Index 1247Reveal Source Media command 83Status column 81Audio track bar 106Audio tracks 1126–1139clipping 1131cross-fading 1135cutting, copying,

1248 IndexKeyframe Editor and 377, 400keyframes and 372keyframing 403, 514Library categories 228locating in Library 406locking 389masks and 110

Index 1249Blur Map well 860Blur on drop shadows 312BMP format 204Border filters 869–871Bevel 869Simple Border 870Widescreen 870Bottom camera vi

Chapter 1 Getting to Know Motion 125 InspectorEvery effect in Motion, from behaviors to particle systems to gradients, is controlled by a collectio

1250 IndexStatus Bar 39swapping with Project pane 26timecode fields 64transforms in 261, 265transport controls 21, 58view options 41Zoom Level p

Index 1251Color Burn blend mode 297Color Correction filters 871–890Brightness 872Channel Mixer 872Channel Swap 875Color Balance 876Color Reduce

1252 IndexConstant color distribution 1034Constant extrapolation 551Constant interpolation 547, 596Contentadding to Library 232Library categories

Index 1253Custom Speed parameter 420Custom Traversal parameter 663, 834Customize icon 36CustomizingFile Browser 200objects 232particle effects 7

1254 Indexhidden tools 29HUDs 136keyboard shortcuts 1185Keyframe Editor 528keyframes 87, 348, 524layers 68, 242Layers List view 72masks 68, 72

Index 1255project presets 190projects 192Durationbehaviors 379, 395changing 362default setting 143end duration 315filters 854generators 965lay

1256 Indextextures 609transform tools 1018trim edits 343, 355trimming multiple objects 344trimming without changing effects 356turning snapping o

Index 1257Favorites menu 122, 169, 231, 405Feather slider 1006Featheringgradients 1035layers with Matte Choker filter 1114masks 1006, 1095, 1099s

1258 Indexmissing 233moving 851, 852onscreen controls 848parameters 847particle systems and 688, 740pasting 851performance and 844, 845previewi

Index 1259Four Corner modeparticle systems and 705rasterization and 288replicators and 777Four Corner parameter 282Frame blending 51, 157Frame Bl

126 Chapter 1 Getting to Know Motion Because different types of objects and effects require different parameters, varied sets of controls appear in

1260 Indexgeneral commands 1237in the Timeline 1238in-the-air gestures 158, 1232modifier keys 1234navigating with 1235playback controls 1234pref

Index 1261flattened 18grouping objects 74, 241Inspector features 132isolating 74layer order and 259Layers tab and 239locking 246masking 1087mo

1262 Indexswitching to Inspector 136text features 571IIcon view 114, 123, 200Icon View button 112, 118Icons3D scene 48Timeline display 330ID par

Index 1263icon 35image wells 127keyboard shortcuts 1188keyframing 505, 516–520locking 134navigating to keyframes 130, 519Object tab 131paramete

1264 Indexadding keyframes 540animated shapes in 1082Animation menu 529audio in 101, 554, 1118auto-scaling 102, 555behaviors in 100, 377Box tool

Index 1265Timeline and 520–526trimming keyframed effects 525Keyframing Active state 100Keyingdefined 15segmenting objects into zones 1112using mu

1266 IndexStandard 23switching to 28Layouts submenu command 175Leading 133Learning mode 438, 439Left camera view 170Lengthening objects 63Lens

Index 1267applying to text objects 682Library category 230, 567missing 233modifying 683preferences 146previewing 681themes and 119Timing parame

1268 Indexmultiple keys and 1112order of 1097parameters 1092–1095particle systems and 705rasterization and 288, 1115replacing alpha channels 109

Index 1269Mirroring image masks 1107Missing media files 79Missing objects 233Mix parameter 862Mix To Stereo command 1122Mixingaudio export 156,

Chapter 1 Getting to Know Motion 127 Value list Another type of pop-up menu. You can click the arrow to the right of the field to display preset va

1270 Indexobjects in new templates 253presets 154Navigatingfile paths 202gestures and 1235in Timeline 357keyboard shortcuts 1184, 1191through fr

Index 1271types of 131viewing relationships between 220Offline media 214, 220, 233Offsetimage masks 1107Parameter behaviors 397particle emissions

1272 IndexPaint strokes3D options 1055about 1012animating 1054brush options 1054colors 1049compared to shapes or masks 998controls 1049defined

Index 1273Emit at Points setting 721filters and 740frame rates and 695geometry 719HUD parameters for 696–700images 719in Library 229, 690initia

1274 Indexin Timeline 347into regions 361keyframes 541objects in Layers tab 74Path Layout method 630Path pop-up menu 111, 112, 118, 200Path Shap

Index 1275Pointsin shapes 1001particle display options 731Points parameter 790, 793, 802Points Per Arm parameter 801Poke filter 903Pole Axis para

1276 Indexswapping with Canvas 26switching sides 67Project Preset Editor 154, 189Project presetscopying to other computers 190creating 189creatin

Index 1277paint stroke brush size 1054particle emitters 726, 727, 728particle systems and 695Randomize Shape behavior 1069replicator elements 810

1278 Indexadvanced controls 783anchor points and 820animating parameters 804, 815animation curves 821animation examples 816arrangement of 770as

Index 1279Stutter 458vs. timing controls 453Reveal in Finder command 78, 112Reveal Source Media command 220, 248Revealing source media 75, 83, 24

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

1280 IndexScrub filter 960Scrubbingaudio 110, 1133projects 61SD (standard-definition) video 1214Search field 112, 119Searchingfor layers and obje

Index 1281rectangles 717, 1010replicators 770, 785saving in Library 123selecting control points 1019shape tools 1030snapping 1017spheres 720spi

1282 Indexdisplaying 75reconnecting 78revealing 83Spacesin file names 156in Toolbar 36, 37Spacingkerning 588paint strokes 1015, 1051shape outli

Index 1283Circles 932Color Emboss 934Crystallize 934Edge Work 935Edges 936Extrude 937Halftone 938Hatched Screen 939Highpass 940Indent 941Lin

1284 Indexkerning 588keyframing 679layers and 571Layout pane 629layouts 584, 629line spacing 574, 630LiveFonts 567, 681, 682, 683LiveType fonts

Index 1285replacing in text 607sources with applied filters 612text fills 606text styles 133Theme pop-up menu 118Themesadding to templates 254,

1286 Indexplay ranges in 94, 359playing projects 357preferences 140rearranging objects 338regions 359renaming objects 324replacing objects in la

Index 1287shearing 275switching modes 265text layers and 571Transition slider 424Transparencyabout opacity 285blend modes and 285channel display

1288 IndexWAV files 1118Wave filter 912Wave parameter 415Wave particles 718Wave replicator shapes 799Wave Shape pop-up menu 441Wave shapes 722,

Chapter 1 Getting to Know Motion 129 To save a preset:1 Set the parameter values to the settings that you want to save.2 Choose Save from the Style

1 131 Getting to Know MotionThis chapter introduces you to the basic concepts of motion graphics and the Motion interface. It also describes how

130 Chapter 1 Getting to Know Motion Enable/Disable Animation: Remains unavailable until keyframing is applied to the parameter, either by using t

Chapter 1 Getting to Know Motion 131 Once an operation triggers a rasterization on a group, the rasterization indicator appears next to the paramet

132 Chapter 1 Getting to Know Motion  Image: Appears when an image, image sequence, or movie is selected. This tab contains the Drop Zone checkbo

Chapter 1 Getting to Know Motion 133 Â Format: Contains standard type controls such as font, size, tracking, kerning, and so on. It also contains

134 Chapter 1 Getting to Know Motion  Replicator: Appears when a replicator is selected. Replicators can only be selected in the Layers tab or Ti

Chapter 1 Getting to Know Motion 135 HUDThe HUD is one of the most versatile and handy tools in the Motion interface. It is a dynamically updating

136 Chapter 1 Getting to Know Motion Displaying HUDsWhen multiple effects are applied to an object, you can quickly cycle through the different eff

Chapter 1 Getting to Know Motion 137 PreferencesMotion Preferences allow you to customize your workspace, tailor the interface for different types

138 Chapter 1 Getting to Know Motion Browse Templates: This option takes you directly to the Template Browser. For more information on working wit

Chapter 1 Getting to Know Motion 139 Content Library & TemplatesWhen installing, Motion allows you to install its content library, templates, a

14 Chapter 1 Getting to Know Motion Motion can be used for commercials, documentaries, titles, broadcast or web graphics, corporate presentations,

140 Chapter 1 Getting to Know Motion AppearanceThis pane contains settings that control visual elements of the Motion interface.HUDThe HUD is a sem

Chapter 1 Getting to Know Motion 141 Filmstrip: Bars in the Timeline are displayed as a continuous strip of frames. The name text does not appear.

142 Chapter 1 Getting to Know Motion ProjectThe Project Preferences pane contains settings such as timing, display, and playback options.Default Se

Chapter 1 Getting to Know Motion 143 Time DisplayThese settings control how the time counters across the application are displayed.Display Time As:

144 Chapter 1 Getting to Know Motion  Jump by pages: As the playhead reaches the end of the current view, the window jumps forward. The playhead

Chapter 1 Getting to Know Motion 145 AutosaveThese settings control how frequently projects are automatically saved, as well as the location of the

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

Chapter 1 Getting to Know Motion 147 CanvasThis pane contains settings to customize your Canvas view. Changes made in this pane take immediate effe

148 Chapter 1 Getting to Know Motion Dynamic Guide Color: This color well sets the color for dynamic guides.Ruler Location: This pop-up menu sets

Chapter 1 Getting to Know Motion 149 3DThe 3D Preferences pane lets you control various aspects of working in the Motion 3D workspace.GeneralThis a

Chapter 1 Getting to Know Motion 15 Timing ToolsThe principal difference between traditional design and motion graphics is that motion graphics is

150 Chapter 1 Getting to Know Motion 3D GridThis area lets you modify settings for the grid that appears in the Motion 3D workspace.3D Grid Spacing

Chapter 1 Getting to Know Motion 151 If you have two computer displays, one can be used to view the Motion interface and the Finder while the other

152 Chapter 1 Getting to Know Motion Options: When a Video Output module is turned on, the Options button becomes active. For monitors connected v

Chapter 1 Getting to Know Motion 153 PresetsThe Presets Preferences pane contains presets for both project settings and export settings. In this pa

154 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 155 Export Options DialogTo make changes to an export preset, choose Export Presets from the Show pop-up menu, cli

156 Chapter 1 Getting to Know Motion Video/Audio TabThe Video/Audio tab contains two groups of controls: Video and Audio.Video controlsThis group

Chapter 1 Getting to Know Motion 157 Resolution: You can specify the output size to be relative to the project’s frame size (Full, Half, Third, or

158 Chapter 1 Getting to Know Motion GesturesThe Gestures Preferences pane contains settings pertaining to using a graphics tablet to control Motio

Chapter 1 Getting to Know Motion 159 Many of these commands have shortcut keys that perform the same command from the keyboard. These shortcuts are

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

160 Chapter 1 Getting to Know Motion File MenuThis menu contains functions and commands that deal with files on your disk that are associated with

Chapter 1 Getting to Know Motion 161 Export Selection: Displays the Export dialog so you can output only your currently selected object to a file

162 Chapter 1 Getting to Know Motion Paste: Adds the current Clipboard selection to the project based on the current selection. This command is no

Chapter 1 Getting to Know Motion 163 Check Spelling As You Type: This command turns automatic spelling checking on and off. When active, a checkma

164 Chapter 1 Getting to Know Motion Mark Play Range Out: Sets the play range Out point to the location of the playhead (Option-Command-O).Reset P

Chapter 1 Getting to Know Motion 165 Selection In Point: Moves the playhead to the first frame of the selected object (Shift-I). Selection Out Poi

166 Chapter 1 Getting to Know Motion Send to Back: Moves the selected object to the bottom of the layers within a group (Command-{).Bring Forward:

Chapter 1 Getting to Know Motion 167 Distribute Far: Spreads the selected objects evenly between each object’s nearest point.Distribute Near: Spr

168 Chapter 1 Getting to Know Motion Unsolo SubmenuThis submenu lets you turn a soloed object back to its normal state. There are three choices: V

Chapter 1 Getting to Know Motion 169 Reveal Source Media: Opens the Media tab and highlights the item that corresponds with the selected item in t

Chapter 1 Getting to Know Motion 17 Real-Time FeedbackWith the right hardware configuration, nearly every effect and adjustment you make can be vie

170 Chapter 1 Getting to Know Motion 3D View SubmenuThis submenu sets the view to a scene camera or default camera view in a 3D project. A scene ca

Chapter 1 Getting to Know Motion 171 Color: Shows the image just as it would appear on a video monitor. Visible layers appear in natural color and

172 Chapter 1 Getting to Know Motion ∏ Tip: When exporting a project using the “Movie - current project and Canvas settings” option (from the Use

Chapter 1 Getting to Know Motion 173 Safe Zones: Turns the display of title safe and action safe guides on and off. You can customize the safe zon

174 Chapter 1 Getting to Know Motion When you pause the pointer over the compass, it changes to a 3D View Selector. Click over any of the colored v

Chapter 1 Getting to Know Motion 175 Layouts SubmenuThis submenu is where you can choose from existing window layouts. Choose one of the layouts fr

176 Chapter 1 Getting to Know Motion Media: Toggles the display of the Media tab. If the Project pane is not visible, this command causes it to ap

Feedback: This link takes you directly to the Motion feedback page, where you can provide Apple with your valuable insights, suggestions, and feedbac

178 Chapter 1 Getting to Know Motion

2 1792 Creating and Managing ProjectsLearn how to create, save, and manage project files. In addition, learn how different kinds of objects are p

18 Chapter 1 Getting to Know Motion About MotionIn Motion, you create 2D or 3D motion graphics and compositing projects with imported images (such

180 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 181 Browse Templates: Opens the Template Browser, allowing you to pick a template to use.For more informa

182 Chapter 2 Creating and Managing Projects You can also choose to show All formats or Other formats.The Theme list shows all templates of the sel

Chapter 2 Creating and Managing Projects 183 Because you can have as many open project files in Motion as the amount of RAM in your computer suppor

184 Chapter 2 Creating and Managing Projects 3 Choose the appropriate settings in the General and Render Settings tabs, then click OK.A new project

Chapter 2 Creating and Managing Projects 185 About Bit DepthWhen working with images, an increase in bits per pixel for those images means more col

186 Chapter 2 Creating and Managing Projects When exporting a 16-bit or 32-bit float project, keep in mind that most file formats available for exp

Chapter 2 Creating and Managing Projects 187 Project Description: A field into which you can enter a brief description of the project. It may also

188 Chapter 2 Creating and Managing Projects The motion blur section has two parameters:Â Samples: The number of sub-frames rendered per frame, wh

Chapter 2 Creating and Managing Projects 189 Creating, Editing, and Deleting PresetsIf you commonly create projects using custom settings that don’

Chapter 1 Getting to Know Motion 19 In a simple example, a group contains a single image with applied color correction and blur filters (in that or

190 Chapter 2 Creating and Managing Projects 6 If you’re done creating new project presets, close the Motion Preferences window.Note: For more inf

Chapter 2 Creating and Managing Projects 191 Managing ProjectsWhen you work on a project in Motion, it’s important to be organized. This includes k

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

Chapter 2 Creating and Managing Projects 193 Using AutosaveMotion automatically saves backups of your project in a folder on your hard drive. In th

194 Chapter 2 Creating and Managing Projects Opening and Closing ProjectsYou can open one or more previously saved project files either in the Find

Chapter 2 Creating and Managing Projects 195 To clear the Open Recent submenu:m Choose File > Open Recent > Clear Menu.Closing ProjectsYou ca

196 Chapter 2 Creating and Managing Projects Note: If you move a project to another computer without collecting, its media may go offline even tho

Chapter 2 Creating and Managing Projects 197 Editing Project PropertiesEven though every project starts out with a preset group of project properti

198 Chapter 2 Creating and Managing Projects Note: Because Motion is resolution independent, it’s not usually necessary to change your project’s f

Chapter 2 Creating and Managing Projects 199 Navigation Controls in the File BrowserFile Browser sidebar: This area of the File Browser displays a

K Apple Inc.Copyright © 2007 Apple Inc. All rights reserved.Your rights to the software are governed by the accompanying software license agreement. T

20 Chapter 1 Getting to Know Motion Utility WindowWhen you open Motion, a utility window appears on the left side of the screen and contains the Fi

200 Chapter 2 Creating and Managing Projects Preview area: Displays a preview of the currently selected file in the file stack. If a movie is sele

Chapter 2 Creating and Managing Projects 201 Folders in this list can be opened hierarchically, using the disclosure triangle to the left of each f

202 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 203 To clear the search results:m Click the Clear button at the far right of the Search field to restore t

204 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 205 Using High-Resolution Still ImagesA common and effective use of still images in motion graphics work i

206 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 207 The image is scaled—the equivalent of using the Transform tool to scale down the image in the Canvas w

208 Chapter 2 Creating and Managing Projects The image looks identical to an image that is scaled on import. However, its resolution has been chang

Chapter 2 Creating and Managing Projects 209 Because image sequences have been around for so long (before QuickTime, they were the only way to stor

Chapter 1 Getting to Know Motion 21 When you want to watch your project play back, the transport controls at the bottom of this window (below the C

210 Chapter 2 Creating and Managing Projects When you import all layers as individual objects, Motion creates a new group in the Layers tab and Tim

Chapter 2 Creating and Managing Projects 211 Fixing the Resolution of a PDF ObjectAlthough PDF files have unlimited resolution, large PDF objects c

212 Chapter 2 Creating and Managing Projects Important: Multi-layered PDF files are not currently supported. To import a multi-layered illustratio

Chapter 2 Creating and Managing Projects 213 Audio FilesYou can import different audio file formats into your project, including but not limited to

214 Chapter 2 Creating and Managing Projects Note: Layered Photoshop files have additional import options available from the drop menu. For more i

Chapter 2 Creating and Managing Projects 215 To select files in the File Browser:1 Open the File Browser.2 Select one or more files by doing one of

216 Chapter 2 Creating and Managing Projects To add one or more files to an existing group:1 If the Create Layers At setting in the Project pane of

Chapter 2 Creating and Managing Projects 217 To control how a layered Photoshop file is added to your project using the drop menu:1 Drag a layered

218 Chapter 2 Creating and Managing Projects Adding iTunes and iPhoto Files from the LibraryYou can add files from your iTunes and iPhoto libraries

Chapter 2 Creating and Managing Projects 219 Managing Layers in Your ProjectWhen you add a file to your project, a corresponding layer appears in t

22 Chapter 1 Getting to Know Motion  Project Properties: Opens the Project Properties dialog, which allows you to modify the project’s background

220 Chapter 2 Creating and Managing Projects Seeing the Relationships Between ObjectsThere are two object parameters where you can see the relation

Chapter 2 Creating and Managing Projects 221 When you first open a project file with media that is unavailable, a dialog appears listing all the me

222 Chapter 2 Creating and Managing Projects To reconnect the media files in this list using Reconnect:1 Click Reconnect.2 In the manual reconnecti

Chapter 2 Creating and Managing Projects 223 Deleting Objects from a ProjectThere are two ways you can delete an object in Motion. You can delete a

224 Chapter 2 Creating and Managing Projects The exchange operation allows you to replace layers in your project even after you’ve modified and ani

Chapter 2 Creating and Managing Projects 225 Object Media Tab ParametersWhen you select an object in the Media tab of the Project pane, the Inspect

226 Chapter 2 Creating and Managing Projects  Premultiplied-Black: This type of alpha channel is multiplied with the clip’s red, green, and blue

Chapter 2 Creating and Managing Projects 227 Frame Rate: Choose a frame rate in frames per second that matches the clip’s native rate. For example

228 Chapter 2 Creating and Managing Projects Replace Media File button: This button allows you to relink a media object in your project to another

Chapter 2 Creating and Managing Projects 229 For more information about behaviors, see “Using Behaviors” on page 369. For more information about fi

Chapter 1 Getting to Know Motion 23 Window ArrangementsDifferent workflows require different sets of windows to be visible, and in different sizes.

230 Chapter 2 Creating and Managing Projects ShapesThis category contains pre-made shapes that you can use either as visual elements or as image ma

Chapter 2 Creating and Managing Projects 231 For more information on importing iPhoto or iTunes files, see “Adding iTunes and iPhoto Files from the

232 Chapter 2 Creating and Managing Projects Adding Your Own Content to the LibraryYou can add your own customized versions of generators, filters,

Chapter 2 Creating and Managing Projects 233 3 Rename the new folder to suit your needs.This new folder appears in the subcategory column whenever

234 Chapter 2 Creating and Managing Projects Layers, in turn, are nested within containers known as groups. Whenever you create a new layer, that l

Chapter 2 Creating and Managing Projects 235 For example, when you select a group that has three layers nested within it, the entire group is selec

236 Chapter 2 Creating and Managing Projects The following example shows how you might create a hierarchy of groups to prepare for the animation of

Chapter 2 Creating and Managing Projects 237 Both arms and both legs are also made up of a hierarchy of nested body parts. It then follows that the

238 Chapter 2 Creating and Managing Projects When you rotate the selection in the Canvas, every object nested within that group rotates as a single

Chapter 2 Creating and Managing Projects 239 However, If you apply the same filter directly to the group, all layers nested within that group are a

24 Chapter 1 Getting to Know Motion Alternate layout: This layout displays two utility windows on the left, the top one containing the Inspector a

240 Chapter 2 Creating and Managing Projects To select multiple contiguous layers or groups, do one of the following:m Shift-click any two layers i

Chapter 2 Creating and Managing Projects 241 When you have more than one group, you can move layers back and forth between them, changing their nes

242 Chapter 2 Creating and Managing Projects To group selected layers together, nesting them in a new group:1 Select all the layers or groups that

Chapter 2 Creating and Managing Projects 243 To show or hide one or more selected layers, do one of the following:m Click the checkbox to the left

244 Chapter 2 Creating and Managing Projects Fixing the Size of a GroupBy default, the size of a group is determined by the layers within that grou

Chapter 2 Creating and Managing Projects 245 When Fixed Resolution is turned on, objects that are in the group but outside of the Canvas are croppe

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

Chapter 2 Creating and Managing Projects 247 m Select one or more layers or groups, then choose Object > Lock (or press Control-L).The locked la

248 Chapter 2 Creating and Managing Projects 3 When you’re finished, press Return to accept the new name. The new name is also automatically accept

Chapter 2 Creating and Managing Projects 249 Sorting Objects in the Media TabThe Media tab contains 13 columns that provide information about each

Chapter 1 Getting to Know Motion 25 Basic Window ControlsIn addition to choosing from the preset arrangements, you can manually arrange your window

250 Chapter 2 Creating and Managing Projects To show or hide a column:m Click the right angle bracket (>) at the right of the column headers, th

Chapter 2 Creating and Managing Projects 251 Exchanging ObjectsThe easiest way to customize a template-based project is to exchange the objects use

252 Chapter 2 Creating and Managing Projects Customizing Text ObjectsText objects can be easily updated using the Text tool. Editing a text object

Chapter 2 Creating and Managing Projects 253 Templates are simply Motion files that are saved in a special way. To create a new template, create th

254 Chapter 2 Creating and Managing Projects Consolidating MediaUnless you selected an alternate installation location when you installed Motion, t

Chapter 2 Creating and Managing Projects 255 5 Choose the format that your template conforms to from the Format pop-up menu.6 If you want your temp

3 2573 Basic CompositingThe most fundamental part of 2D compositing involves arranging the visual elements in your composition by moving, rotatin

258 Chapter 3 Basic Compositing You can use different transform tools, each of which allow you to perform basic compositing tasks such as selecting

Chapter 3 Basic Compositing 259 When you begin to lay out a composition, it’s a good idea to start by creating a static layout of your project that

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

260 Chapter 3 Basic Compositing Bring to Front: Places the selected object in front of all other objects within the same group by moving it to the

Chapter 3 Basic Compositing 261 Reordering Nonconsecutive SelectionsWhen you apply an arrangement command on nonconsecutive selected layers, the la

262 Chapter 3 Basic Compositing To deselect one of multiple selected objects in the Canvas, do one of the following:m Shift-click an object you wan

Chapter 3 Basic Compositing 263 Rules for Transforming Selected Objects and GroupsThe way you transform selected objects depends on how many object

264 Chapter 3 Basic Compositing Transforming a GroupIf you select an entire group, all objects and groups that are nested within it are treated as

Chapter 3 Basic Compositing 265 Switching Among Transform ToolsBefore you transform an object, you should make sure that the pointer is set to the

266 Chapter 3 Basic Compositing m Control-click any object in the Canvas, then choose a transform mode from the shortcut menu.For more information

Chapter 3 Basic Compositing 267 Moving Objects in the CanvasThe simplest thing you can do to start arranging the objects in your project is to move

268 Chapter 3 Basic Compositing Note: When repositioning very small objects, it may be necessary to zoom into the Canvas to get a better view.Note

Chapter 3 Basic Compositing 269 Align Far Edges: Objects are moved in Z space so that their far edges line up with the furthest object in the sele

Chapter 1 Getting to Know Motion 27 Saving Custom LayoutsOnce you have the windows arranged to your liking, you can save your screen layout with a

270 Chapter 3 Basic Compositing Transform ToolsThe transform controls do double duty, allowing you to both resize (scale) and rotate an object with

Chapter 3 Basic Compositing 271 2 Do one of the following:Â Drag one of the corner handles to resize the object’s width and height at the same time

272 Chapter 3 Basic Compositing  Press Option while dragging any scale handle to resize an object around its anchor point, rather than unilaterall

Chapter 3 Basic Compositing 273 As you drag the rotation handle, the original angle of the object is indicated by a small circle that appears on a

274 Chapter 3 Basic Compositing If you move an anchor point, however, the object no longer rotates around its own center, but instead rotates aroun

Chapter 3 Basic Compositing 275 Shearing ObjectsThe shear handles can be used to slant an object, either horizontally or vertically. This is an iso

276 Chapter 3 Basic Compositing Adjusting the Drop Shadow of an ObjectOnce an object’s drop shadow is enabled, the onscreen drop shadow handles can

Chapter 3 Basic Compositing 277 Corner-Pinning ObjectsYou can stretch an object into different polygonal shapes using the Four Corner controls, whi

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

Chapter 3 Basic Compositing 279 2 In the Canvas, drag one of the eight handles around the edge of the object to crop it:Â Drag the top, left, right

28 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

280 Chapter 3 Basic Compositing When you select a single object and open the Properties tab of the Inspector, the object’s parameters are displayed

Chapter 3 Basic Compositing 281 Each object’s position is centered on its anchor point. Offsetting the anchor point also offsets the position of th

282 Chapter 3 Basic Compositing Blend Mode: Sets the Blend Mode of the object. For more information, see “Editing Opacity and Blending” on page 28

Chapter 3 Basic Compositing 283 Click the disclosure triangle to display four crop parameters. Each defines the number of pixels to be cropped from

284 Chapter 3 Basic Compositing The clone layer inherits the following properties from its source object at the time of its creation: Rotation, Sca

Chapter 3 Basic Compositing 285 Editing Opacity and BlendingThe opacity and blending controls for each object appear both in the Properties tab of

286 Chapter 3 Basic Compositing Blend modes can create transparency in an object regardless of the setting of its opacity parameter. This is becaus

Chapter 3 Basic Compositing 287 Blend modes only affect the combination of an object with the objects below it. Any objects appearing above have no

288 Chapter 3 Basic Compositing About RasterizationSome operations, as well as the application of certain filters or a mask, cause a group to be ra

Chapter 3 Basic Compositing 289 Preserve Opacity OptionThe Preserve Opacity checkbox allows you to limit an object’s visibility to areas of the Can

Chapter 1 Getting to Know Motion 29 Full Screen ModeMotion has an option to cover your entire monitor with the Canvas. This is helpful for watching

290 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 291 The effect that each blend mode has on overlapping objects depends on the range of color values within each object.

292 Chapter 3 Basic Compositing With the enclosing group set to Pass Through, the Swirls object stencils all other objects underneath it, including

Chapter 3 Basic Compositing 293 The Gradient object in the bottom group is left unaffected, although the transparency in the top group caused by th

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

Chapter 3 Basic Compositing 295 Overlapping midrange color values are darkened based on the color of the background image. In areas where the backg

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

Chapter 3 Basic Compositing 297 Color BurnColor Burn intensifies the dark areas in each image. Whites in the background image replace the foregroun

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

Chapter 3 Basic Compositing 299 The order of two objects affected by the Lighten blend mode does not matter.ScreenLike Lighten, Screen also emphasi

3 1 Contents Preface 9 Motion 3 Documentation and Resources9 Onscreen Help 10 Apple Websites Chapter 1 13 Getting to Know Motion14 About Motio

30 Chapter 1 Getting to Know Motion Tools are also grouped into categories of use. The first set are called the View tools because they deal with c

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

Chapter 3 Basic Compositing 301 The order of two objects affected by the Linear Dodge blend mode does not matter.OverlayWhites and blacks in the fo

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

Chapter 3 Basic Compositing 303 Overlapping midrange color values are mixed together differently depending on the brightness of the background colo

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

Chapter 3 Basic Compositing 305 The methods used by the Pin Light blend mode to mix two images are somewhat complex. Overlapping midrange color val

306 Chapter 3 Basic Compositing While the order of two objects doesn’t affect the overall look of two images blended using the Hard Mix blend mode,

Chapter 3 Basic Compositing 307 The order of two objects affected by the Exclusion blend mode does not matter.Blend Modes That Manipulate Alpha Cha

308 Chapter 3 Basic Compositing Silhouette AlphaSilhouette Alpha is the reverse of the Stencil Alpha blend mode and is useful for cutting holes in

Chapter 3 Basic Compositing 309 BehindThe Behind blend mode forces the object to appear behind all other objects and groups, regardless of its posi

Chapter 1 Getting to Know Motion 31 Adjust Crop toolS (Press Tab to cycle through tools.)Allows you to hide portions of an object (except shapes) b

310 Chapter 3 Basic Compositing They create the illusion of depth, with the result that the foreground object seems to pop out at the viewer. For t

Chapter 3 Basic Compositing 311 Adjusting Drop Shadows in the CanvasYou can interactively modify an object’s drop shadow using the HUD or the onscr

312 Chapter 3 Basic Compositing To increase or decrease a drop shadow’s blur:1 Click and hold the Select/Transform tool, then choose the Adjust Dro

Chapter 3 Basic Compositing 313 Timing Controls in the InspectorEach media object has individual timing parameters in the Properties tab:Time Remap

314 Chapter 3 Basic Compositing When selecting Optical flow, an analysis indicator appears to the left of the transport controls underneath the Can

Chapter 3 Basic Compositing 315 Â Ping-Pong: When the last frame of the clip is reached, the next iteration of clip playback is reversed. If you s

316 Chapter 3 Basic Compositing Options in the Export Selection DialogThe Export Selection dialog contains options for filenaming, type of file you

Chapter 3 Basic Compositing 317 After Export: A pop-up menu that sets which additional actions to take with the result file after the export is co

318 Chapter 3 Basic Compositing All the layers in the project temporarily scale down and spread out over the Canvas. Each layer in the project is r

Chapter 3 Basic Compositing 319 To expose all drop zones in a project:1 Use the Library or File Browser to locate an object you wish to import into

32 Chapter 1 Getting to Know Motion Create ToolsThe Create tools generate new layers. You can modify the attributes for the newly created layers in

4 3214 Using the TimelineArrange and edit the assets in your project with flexibility and ease in the Timeline. View your objects spread out over

322 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 323 When you select an object, the color changes to a darker shade and the name of the object turns white. When the Ti

324 Chapter 4 Using the Timeline Timeline Layers ListThe Timeline layers list mirrors the Layers tab in the Project pane and displays your project

Chapter 4 Using the Timeline 325 Enabling Timeline TracksTo the left of each track in the Timeline layers list is an activation checkbox that turns

326 Chapter 4 Using the Timeline To collapse or expand a layer or group in the Timeline:m Click the disclosure triangle to the left of the layer or

Chapter 4 Using the Timeline 327 Locked tracks still appear in the Canvas and are included in your final output. Although you cannot make changes t

328 Chapter 4 Using the Timeline Timeline View OptionsThe lower-left corner of the Timeline contains several controls to customize what elements ap

Chapter 4 Using the Timeline 329 The Zoom/Scroll control appears at the bottom of the Timeline window and lets you scroll through your project when

Chapter 1 Getting to Know Motion 33 Mask ToolsThe Mask tools can only be accessed when a layer (a visible object in the Canvas, such as an image or

330 Chapter 4 Using the Timeline Specifying the Track DisplayYou can choose several different ways to display the objects within the tracks in the

Chapter 4 Using the Timeline 331 Adding Objects to the TimelineWhen you drag a new object to the Timeline, a drop menu appears and lets you choose

332 Chapter 4 Using the Timeline Note: If you release the mouse button before the drop menu appears, the default choice of Composite is applied. T

Chapter 4 Using the Timeline 333 OverwriteThe Overwrite option deletes the existing object, overwriting it with your new object.If the new object i

334 Chapter 4 Using the Timeline SequentialThis drop menu option is only available when you are dropping multiple objects into the Timeline. Sequen

Chapter 4 Using the Timeline 335 3 Choose Exchange from the drop menu.The old object is replaced by the new object.Adding Multiple Clips to the Tim

336 Chapter 4 Using the Timeline Setting Drag and Drop PreferencesYou can set preferences that specify where an item is dropped when you add it to

Chapter 4 Using the Timeline 337 To replace an object in an existing group:1 Drag an object from the File Browser, Library, or Media tab, and posit

338 Chapter 4 Using the Timeline To rearrange objects within a group:1 Click the icon in the Timeline layers list for the object you want to move.

Chapter 4 Using the Timeline 339 The object moves into the selected group and is placed above any existing objects within that group.You can also d

34 Chapter 1 Getting to Know Motion Camera and Effects IconsThe first icon on the right side of the Toolbar adds a new camera to a project. The nex

340 Chapter 4 Using the Timeline To place one group inside another:1 Drag the group icon in the Timeline layers list onto the group inside of which

Chapter 4 Using the Timeline 341 Splitting TracksOccasionally you may want to divide a single object into multiple objects, each in its own Timelin

342 Chapter 4 Using the Timeline Moving ObjectsMove an object when you want it to begin and end at a different point in the project.To move an obje

Chapter 4 Using the Timeline 343 Trimming ObjectsTrim an object when you want to shorten or lengthen its duration in the Timeline. You can shorten

344 Chapter 4 Using the Timeline 2 Drag the end of the bar until it reaches the frame where you want the clip to start or end. As you drag, a toolt

Chapter 4 Using the Timeline 345 Slipping ClipsSlip a clip when you want to use a different section of your clip, but you don’t want to change the

346 Chapter 4 Using the Timeline Delete: Removes the object, leaving a gap in the Timeline.Ripple Delete: Removes the object and closes up the ga

Chapter 4 Using the Timeline 347 Copy and PasteAs in other applications, you can copy an object. Copying leaves the object in place and copies it t

348 Chapter 4 Using the Timeline Overwrite: Pastes the Clipboard contents into the project, deleting any existing objects at the same point in tim

Chapter 4 Using the Timeline 349 To display keyframes in the Timeline:m At the bottom of the Timeline layers list, click the Show/Hide Keyframes bu

Chapter 1 Getting to Know Motion 35 Interface IconsThe interface icons on the far right of the Toolbar provide access to the main elements of the M

350 Chapter 4 Using the Timeline Retiming in the TimelineBy default, a 60-frame clip played back at 30 frames per second takes two seconds to displ

Chapter 4 Using the Timeline 351 To loop a clip:1 With the pointer over the end of the clip, press and hold Option-Shift.The pointer turns into the

352 Chapter 4 Using the Timeline Ordinarily the group bar indicates the name of the object if there is only one object and the number of composited

Chapter 4 Using the Timeline 353 2 Drag the section left or right to move the object within the group forward or backward in time.Moving Objects Sh

354 Chapter 4 Using the Timeline 2 Drag the section to move all of the objects at once.You can also use the shortcut menu to select any one of the

Chapter 4 Using the Timeline 355 Trimming Objects in the Group TrackTrimming the edges of the group bar automatically trims the edges of the object

356 Chapter 4 Using the Timeline You can use this same technique to trim an object without automatically changing the duration of masks, filters, o

Chapter 4 Using the Timeline 357 Navigating in the TimelineMotion provides many different controls for navigating the Timeline. You can directly dr

358 Chapter 4 Using the Timeline To move forward or backward one frame at a time, do one of the following:m Click the “Go to next frame” or “Go to

Chapter 4 Using the Timeline 359 Defining the Play RangeOrdinarily, clicking the Play button plays your project from the first frame until the last

36 Chapter 1 Getting to Know Motion Spaces and SeparatorsIn addition to adding and arranging controls in the Toolbar, you can add spaces, flexible

360 Chapter 4 Using the Timeline To select a range of frames:m Command-Option-drag in the Timeline.A light blue band appears over the selected fram

Chapter 4 Using the Timeline 361 Once you have defined your selection range, you can delete the section or ripple delete the section (to delete it

362 Chapter 4 Using the Timeline The number of frames in the region is added to the project, beginning at the end of the selected region and pushin

Chapter 4 Using the Timeline 363 You can assign different colors to different types or markers and create marker groups. For example, use green to

364 Chapter 4 Using the Timeline A green marker is added in the gray bar above the Timeline ruler.Note: You can also press Shift-M to add a projec

Chapter 4 Using the Timeline 365 To delete all project markers only:1 Choose Edit > Deselect All (or press Command-Shift-A).2 Choose Mark > M

366 Chapter 4 Using the Timeline 5 Type text in the Comment field. This comment appears as a tooltip when you pause the pointer over project marker

Chapter 4 Using the Timeline 367 You can also navigate to adjacent markers from within the Edit Marker dialog. In that case, the dialog remains ope

5 3695 Using BehaviorsYou can use behaviors to animate objects using simple graphical controls. With behaviors, you can easily create basic motio

Chapter 1 Getting to Know Motion 37 For more information on using the Template Browser, see “Creating New Projects from Templates” on page 181.Exte

370 Chapter 5 Using Behaviors There are 11 different kinds of behaviors in Motion. Audio behaviors are applied to audio files to create simple aud

Chapter 5 Using Behaviors 371 Â Retiming behaviors are applied directly to footage and cloned layers (or groups) in order to create hold frames, re

372 Chapter 5 Using Behaviors For step-through examples of using behaviors, see “Behavior Examples” on page 483.Behaviors Versus KeyframesIt’s impo

Chapter 5 Using Behaviors 373 Browsing for BehaviorsAll available behaviors appear in the Library tab. Selecting the Behaviors category in the cate

374 Chapter 5 Using Behaviors Note: To help you understand how each behavior works, the animated behavior previews provide hints in the form of an

Chapter 5 Using Behaviors 375 Where Behaviors AppearWhen you apply a behavior to an object, it appears nested underneath that object in the Layers

376 Chapter 5 Using Behaviors A Behaviors icon also appears to the right of the object name in the Layers tab and Timeline. Clicking this icon enab

Chapter 5 Using Behaviors 377 Behavior Effects in the Keyframe EditorIf you open the Keyframe Editor and look at a parameter that is affected by on

378 Chapter 5 Using Behaviors Note: It is usually easier to drag a behavior to a camera or light in the Layers tab or Timeline than directly to th

Chapter 5 Using Behaviors 379 When a behavior is applied to an object, the object parameters affected by that behavior are automatically animated b

38 Chapter 1 Getting to Know Motion m Choose an option from the Show pop-up menu in the lower-left corner of the Customize Toolbar dialog.Hiding th

380 Chapter 5 Using Behaviors To remove a behavior from an object:1 Select a behavior in the Layers tab, Timeline, Behaviors tab, or pop-up menu in

Chapter 5 Using Behaviors 381 A Parameter behavior’s effect on an object depends on the parameter to which it is applied. For example, if you apply

382 Chapter 5 Using Behaviors  Control-click a parameter in the HUD, then choose a Parameter behavior from the shortcut menu. Control-click a par

Chapter 5 Using Behaviors 383  Select the Parameter behavior, then choose a parameter from the Apply To (“Go”) pop-up menu in the HUD. Select the

384 Chapter 5 Using Behaviors This creates an animation in which the image rocks back and forth on the Z axis.To select another parameter for the b

Chapter 5 Using Behaviors 385 For more information on reassigning parameter behaviors, see “Reassigning a Parameter Behavior to Another Parameter”

386 Chapter 5 Using Behaviors Opening a parameter’s Animation menu in the Inspector displays the names of all the behaviors currently applied to th

Chapter 5 Using Behaviors 387 2 In the Behaviors tab in the Inspector, choose a new parameter from the Apply To (“Go”) pop-up menu.The Track Parame

388 Chapter 5 Using Behaviors Modifying Parameters in the HUDIn general, the parameters that appear in the HUD are the most essential for modifying

Chapter 5 Using Behaviors 389 To cycle through the HUDs of an object, do one of the following:m Click the disclosure triangle in the title bar of t

Chapter 1 Getting to Know Motion 39 You can directly manipulate the items in the Canvas to modify physical attributes such as position, scale, and

390 Chapter 5 Using Behaviors Activation checkbox: Turns each individual behavior on or off. Behaviors that are turned off have no effect on the o

Chapter 5 Using Behaviors 391 Show Behaviors button: Appears at the bottom of the Layers tab and Timeline, and lets you show or hide all behaviors

392 Chapter 5 Using Behaviors Note: If you move a Parameter behavior to another object, it is applied to the same parameter it affected in the pre

Chapter 5 Using Behaviors 393 Applying Multiple Behaviors to an ObjectThere is no limit to the number of behaviors you can add to an object. When m

394 Chapter 5 Using Behaviors Changing the Timing of BehaviorsYou can change a behavior’s timing to control when it starts, how long it lasts, and

Chapter 5 Using Behaviors 395 For more information about applying Parameter behaviors, see “Applying Parameter Behaviors” on page 380.Trimming Beha

396 Chapter 5 Using Behaviors Note: The Simulation behaviors do not leave the object at the transformed state after the last frame of the trimmed

Chapter 5 Using Behaviors 397 In the next image, the Orbit Around behavior is trimmed in the Timeline to a shorter duration (190 frames) than the o

398 Chapter 5 Using Behaviors The Start Offset parameter has a slider that lets you delay the beginning of the behavior’s effect, relative to the f

Chapter 5 Using Behaviors 399 For example, if you apply the Random Motion behavior to a shape, that shape might weave around onscreen with a comple

4 Contents 261 Object and Layer Transforms in the Canvas 283 Making Clone Layers 285 Editing Opacity and Blending 309 Drop Shadows 312 Retiming Chapt

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

400 Chapter 5 Using Behaviors Combining Behaviors and Keyframes in the Keyframe EditorWhen you display a parameter that’s affected by a behavior in

Chapter 5 Using Behaviors 401 Raising or lowering a keyframe in the Keyframe Editor also raises or lowers the background curve, since it’s modifyin

402 Chapter 5 Using Behaviors You can convert the behaviors that are applied to all parameters of an object into keyframes. Converting behaviors th

Chapter 5 Using Behaviors 403 Applying Parameter Behaviors to a BehaviorYou can animate a behavior’s parameter by applying a Parameter behavior. Fo

404 Chapter 5 Using Behaviors For more information about keyframing parameters, see “Animating Behaviors” on page 514.Converting Behaviors to Keyfr

Chapter 5 Using Behaviors 405 All behaviors are converted into keyframes, which appear in the Keyframe Editor. The entire animation of the object i

406 Chapter 5 Using Behaviors When you save a customized behavior, it is saved in the /Users/username/Library/Application Support/Final Cut Studio/

Chapter 5 Using Behaviors 407 To create a new folder in a Behaviors subcategory:1 Open the Library and select a Behaviors subcategory, such as Basi

408 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 409 Fade In/Fade OutLets you dissolve into and out of any object. The Fade In/Fade Out behavior affects the opacity of th

Chapter 1 Getting to Know Motion 41 Frame RatePart of the way Motion plays back your project in real time is by lowering the frame rate when the se

410 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 411 Parameters in the InspectorIncrement: This pop-up menu lets you choose how the behavior’s effect progresses over its

412 Chapter 5 Using Behaviors You can modify the motion path in 3D space so that an object travels on the path along the path’s X, Y, and Z axes. F

Chapter 5 Using Behaviors 413 Additional Onscreen ControlsWhen the Motion Path behavior is added to an object, the Adjust Item tool is automaticall

414 Chapter 5 Using Behaviors  Open Spline: The default shape, a straight path defined by two points at the beginning and end of the path. You ca

Chapter 5 Using Behaviors 415 Â Size: When Rectangle is the defined path shape, this slider allows you to change the size of the rectangular path.

416 Chapter 5 Using Behaviors  Damping: A slider that progressively diminishes the oscillation of the wave. Positive damping values diminish the

Chapter 5 Using Behaviors 417 Â Attach to Shape: When enabled, the motion path follows the source shape at its original location. When disabled, t

418 Chapter 5 Using Behaviors Note: You may want to disable the source shape in the Layers tab so it is not visible in your project.To select anot

Chapter 5 Using Behaviors 419 Â Natural: The speed in which the object moves over the path is determined by the shape of the path. For example, if

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

420 Chapter 5 Using Behaviors To use the Custom Speed parameter:1 In the Inspector or HUD, choose Custom from the Speed pop-up menu.The Custom Spee

Chapter 5 Using Behaviors 421 Depending on the camera view, the object on the path may no longer be visible. For example, if the object has not bee

422 Chapter 5 Using Behaviors  Double-click the 3D View tool that you previously adjusted. For example, if you dragged the Orbit tool to rotate th

Chapter 5 Using Behaviors 423 HUD ControlThe HUD has a slider that sets the influence amount (Strength), a Direction pop-up menu that defines wheth

424 Chapter 5 Using Behaviors HUD ControlThe HUD has an object well, a Transition slider, a Speed pop-up menu that allows you to define the object’

Chapter 5 Using Behaviors 425 Invert Axis: If the object is aligning on the correct axis, but appears backwards, this checkbox flips the object so

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

Chapter 5 Using Behaviors 427 Parameters in the InspectorAffect Subobjects: This parameter appears when Spin is applied to an object that contains

428 Chapter 5 Using Behaviors When Axis is set to Custom, additional Longitude and Latitude parameters become available. These parameters allow the

Chapter 5 Using Behaviors 429 The Throw behavior is also useful when you’re moving an object through a simulation. For example, you might move the

Chapter 1 Getting to Know Motion 43 To zoom in and out of a specific area of the Canvas:m Press Space bar-Command (in that order), then drag the ar

430 Chapter 5 Using Behaviors In the 2D and 3D Throw HUDs, press the Shift key while dragging the arrow to constrain it to 45 degree angles. In the

Chapter 5 Using Behaviors 431 For more information on applying Parameter behaviors, see “Applying Parameter Behaviors” on page 380.AudioThis behavi

432 Chapter 5 Using Behaviors ClampThis behavior allows you to define a minimum and maximum value for an animated parameter. In the following illus

Chapter 5 Using Behaviors 433 Parameters in the InspectorClamp At: A pop-up menu in which you choose the option to clamp parameter values at only

434 Chapter 5 Using Behaviors To add a parameter you want to animate in a Custom behavior:m Choose a parameter you want to add to the Custom parame

Chapter 5 Using Behaviors 435 When you apply a Custom behavior that you’ve saved in the Library to an object in a project, its keyframed animation

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

Chapter 5 Using Behaviors 437 HUD ControlThe HUD lets you set the start and end values and change the parameter assignment.Parameters in the Inspec

438 Chapter 5 Using Behaviors  Learning: This mode is used to “teach” Motion which control (such as a knob, dial, or key) you want to use on the

Chapter 5 Using Behaviors 439 Like all other Parameter behaviors, the Apply To field displays the parameter to which the behavior is applied.3 On y

44 Chapter 1 Getting to Know Motion ChannelsThe Channels pop-up menu controls which color channels are displayed in the Canvas. This menu displays

440 Chapter 5 Using Behaviors For example, applying the Negate behavior to the Position parameter of an object with an animation path applied resul

Chapter 5 Using Behaviors 441 HUD controlThe HUD lets you adjust the Phase, Amplitude, Speed, and Half Range parameters as well as change the param

442 Chapter 5 Using Behaviors  Sawtooth: The Sawtooth wave ramps upward over time and then drops sharply. For example, when Oscillate is applied

Chapter 5 Using Behaviors 443 Half Range: When this checkbox is turned on, the sine (or other wave shape) wave is essentially cut in half and does

444 Chapter 5 Using Behaviors Related Behaviors“Ramp,” “Rate”Creating a Decaying OscillationWhen you are oscillating an object’s rotation or positi

Chapter 5 Using Behaviors 445 When the Oscillate behavior is selected, you can see the keyframed Amplitude value in the Keyframe Editor (when Anima

446 Chapter 5 Using Behaviors Offset: A slider that offsets the steps. For example, when Quantize is applied to a Position parameter and Step Size

Chapter 5 Using Behaviors 447 HUD controlThe HUD lets you adjust the Ramp’s Start Value, End Value, and Curvature parameters, as well as change the

448 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 449 Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new sequ

Chapter 1 Getting to Know Motion 45 Rulers: Toggles display of the rulers along the edge of the Canvas on and off. You can specify where the ruler

450 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 451 HUD ControlThe HUD control allows you to change the parameter assignment.Parameters in the InspectorApply To: The Ap

452 Chapter 5 Using Behaviors Link: This parameter appears when you apply the Wriggle behavior to a two-dimensional parameter (such as Scale) or t

Chapter 5 Using Behaviors 453  For more information about Shape behaviors, see “Using the Shape Behaviors” on page 1064. For more information abo

454 Chapter 5 Using Behaviors Frame Range: A slider that defines the range from which the random frames are chosen, based around the current frame

Chapter 5 Using Behaviors 455 Parameters in the InspectorLoop Duration: A slider that sets the duration of the looped frames. The default value is

456 Chapter 5 Using Behaviors ReverseThis behavior plays the clip or image sequence in reverse.HUD ControlThere are no parameters for this behavior

Chapter 5 Using Behaviors 457 Important: Scrub does not affect clip audio.Set SpeedThis behavior allows you to change the speed (playback rate) of

458 Chapter 5 Using Behaviors Parameters in the InspectorStrobe Duration: A slider that sets the number of frames to hold. A value of 1 plays the

Chapter 5 Using Behaviors 459 Important: Several Simulation behavior parameters contain object wells into which target objects used as attractors,

46 Chapter 1 Getting to Know Motion Show 3D Overlays: Turns all 3D overlays off, including Camera overlays, 3D View Tools, Compass, Inset View, 3D

460 Chapter 5 Using Behaviors Parameters in the InspectorAffect Subobjects: This parameter appears when this behavior is applied to an object that

Chapter 5 Using Behaviors 461 An object with the Attracted To behavior moves toward a single specified target, the object of attraction. Additional

462 Chapter 5 Using Behaviors Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linear

Chapter 5 Using Behaviors 463 By default, objects overshoot the object of attraction and bounce around, never coming to rest. The Drag parameter le

464 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 465 Include X, Y, and Z: Buttons that allow you to specify the space in which drag is in effect. For example, when X and

466 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 467  Linear: Object attraction falls off in proportion to the object’s distance. Exponential: The closer an object is

468 Chapter 5 Using Behaviors The angle at which the object bounces depends on the angle at which it hits the edge of the frame; the speed it trave

Chapter 5 Using Behaviors 469 Width: A slider that allows you to define a width (the right and left edges of the Canvas) other than the size of pr

Chapter 1 Getting to Know Motion 47 The Inset view displays the Perspective or Active Camera view. The Perspective view dynamically changes to fit

470 Chapter 5 Using Behaviors Parameters in the InspectorAffect Subobjects: This parameter appears when this behavior is applied to an object that

Chapter 5 Using Behaviors 471 HUD ControlThe HUD has an object well you can use to assign an object of attraction, as well as controls for Strength

472 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 473  X: The following image illustrates Pole Axis set to X. The light gray box represents the boundary of the group. Y

474 Chapter 5 Using Behaviors  Random: When Random is selected, the axes shift to a different random position.Direction: A pop-up menu that lets

Chapter 5 Using Behaviors 475 You can also use the Random Motion behavior to add variation to the animation paths created by other behaviors that a

476 Chapter 5 Using Behaviors Drag: A slider that controls the speed the object moves along the animation path. While the Amount parameter control

Chapter 5 Using Behaviors 477 Parameters in the InspectorAffect: A pop-up menu that limits which objects in your project are affected by the Repel

478 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 479 Include X, Y, and Z: Buttons that allow you to specify the space in which the object moves away from the selected ob

48 Chapter 1 Getting to Know Motion 3D Grid: Turns the grid on and off in 3D views. The 3D grid helps you stay oriented and can be used to guide t

480 Chapter 5 Using Behaviors HUD ControlAn image well in the HUD lets you set the Attract To object. You can also control the Spring Tension and R

Chapter 5 Using Behaviors 481 HUD ControlThe HUD has a pop-up menu that lets you limit the objects affected by this behavior, as well as controls f

482 Chapter 5 Using Behaviors Pole Axis: This parameter becomes available when the X, Y, and Z axes are enabled in the Include parameter. Because

Chapter 5 Using Behaviors 483 When you click the 3D button, the HUD allows you to use the center arrow control to define the direction the object i

484 Chapter 5 Using Behaviors Example 1: Creating an Animated TitleIn this example, multiple Basic Motion behaviors are used to create elements of

Chapter 5 Using Behaviors 485 The HUD title bar reads “Multiple Selection” to indicate you are adjusting two behaviors at the same time.4 Drag the

486 Chapter 5 Using Behaviors 8 Reposition the duplicated layer in the Canvas, press Shift and drag one of the corner handles to uniformly scale do

Chapter 5 Using Behaviors 487 You can also shorten the path by moving its starting point closer to the Canvas.Note: You can change the shape of th

488 Chapter 5 Using Behaviors 4 Apply the Gravity behavior to the “circles 1” group.The motion path created by the Gravity behavior appears in the

Chapter 5 Using Behaviors 489 When the Edge Collision behavior is applied to a group, and the Affect Subobjects parameter is turned off, the entire

Chapter 1 Getting to Know Motion 49 Show Full View Area: When enabled, this setting lets you see the portion of a layer that extends beyond the ed

490 Chapter 5 Using Behaviors Other Simulation behaviors that also use the Affect Subobjects parameter include Align To Motion, Drag, Gravity, Rand

Chapter 5 Using Behaviors 491 The Orbit Around behavior is applied to the group of circles (“circles 1”) in the project. The center circle in the c

492 Chapter 5 Using Behaviors Important: Dragging an object to a well may be tricky—be sure to click the object name in the Layers tab and immedia

Chapter 5 Using Behaviors 493 To use the Vortex behavior:1 Using the result of the previous example, delete the Orbit Around behavior from the proj

494 Chapter 5 Using Behaviors When All Objects is chosen, all objects in the project—regardless of the group in which they exist—are affected and m

Chapter 5 Using Behaviors 495 Any layers that are added to the Affected Objects list swirl around the layer to which the Vortex behavior is applied

496 Chapter 5 Using Behaviors To create a clock animation:1 Place the graphics layers constituting the hands, face, and pendulum into the Canvas, a

Chapter 5 Using Behaviors 497 The Rate Parameter behavior is applied to the Rotation parameter.4 In the Behaviors tab, set the Rate parameter to –4

498 Chapter 5 Using Behaviors When you play the project at this point, you can see that the hour hand and minute hand rotate clockwise at rates rep

Chapter 5 Using Behaviors 499 This keeps with the overall fast-forward motion of the clock. You’re done!

Contents 5 Chapter 8 685 Working with Particles687 Anatomy of a Particle System 689 Using Particle Systems 711 Creating Graphics and Animations for P

50 Chapter 1 Getting to Know Motion 4 In the Output tab of the Export Options dialog, turn off “Use current project and canvas settings.”The option

500 Chapter 5 Using Behaviors

Chapter 5 Using Behaviors 501

6 5036 Keyframes and CurvesWhether you want to send clips flying around the screen or animate individual filter settings on the fly, keyframes al

504 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 505 You can also use the HUD and the Inspector to set and modify values for nearly every option in the application.

506 Chapter 6 Keyframes and Curves In the Keyframe Editor, you can see and manipulate a graph for every parameter in the application. Again, keyfra

Chapter 6 Keyframes and Curves 507 When keyframing (Record) is enabled, the changes that you apply to the object are applied at the current playhea

508 Chapter 6 Keyframes and Curves You can also Control-click the object to display a shortcut menu with options for modifying the Pivot, Shear, Dr

Chapter 6 Keyframes and Curves 509 Note: To view the animation paths of keyframed objects, ensure that Animation Path is selected in the View pop-

Chapter 1 Getting to Know Motion 51 When the Field Rendering checkbox is on in the Output tab, the project is exported with field rendering regardl

510 Chapter 6 Keyframes and Curves 2 Place the playhead at the starting frame.3 Place the object in a starting position.4 Move the playhead forward

Chapter 6 Keyframes and Curves 511 Manipulating Animation PathsWhen the animation path is displayed, you can directly manipulate the keyframes to r

512 Chapter 6 Keyframes and Curves To animate a clip’s opacity:1 Click the Record button (or press A) to turn on keyframe recording.2 Place the pla

Chapter 6 Keyframes and Curves 513 Animating FiltersIn addition to making changes to a clip’s basic attributes, keyframing can be used to modify ne

514 Chapter 6 Keyframes and Curves 8 Click the Record button (or press A) to turn off keyframe recording.The filter now changes over time to reflec

Chapter 6 Keyframes and Curves 515 Combining Behaviors and Keyframes Because it is possible to add keyframes to an object that may already have a b

516 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 517 5 Click the Inspector tab where the parameter you want to modify is located (filters in this example).6 Set the

518 Chapter 6 Keyframes and Curves Enable Animation: This menu item remains unavailable until animation is applied to the parameter either by usin

Chapter 6 Keyframes and Curves 519 4 To set another keyframe for the same parameter, move the playhead to the next location and adjust the paramete

52 Chapter 1 Getting to Know Motion When this setting is turned on in the View menu and you are using the default export preset (“Movie - current p

520 Chapter 6 Keyframes and Curves The Reset ButtonEach parameter set in the Inspector is equipped with a reset button. A parameter set might be a

Chapter 6 Keyframes and Curves 521 To show keyframes in the Timeline:m Click the Show/Hide Keyframes button.You can identify a keyframe’s value in

522 Chapter 6 Keyframes and Curves 2 Identify the object where the keyframe is located.3 Drag the keyframe to the left or right to move it forward

Chapter 6 Keyframes and Curves 523 Note: Control-clicking a keyframe in the Timeline displays a shortcut menu containing the parameter name and va

524 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 525 Trimming Keyframed EffectsWhen the duration of an effect such as a filter or behavior in the Timeline is changed

526 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 527 Viewing the curves for your animated parameters gives you another way to understand how your effect is changing

528 Chapter 6 Keyframes and Curves To display the Keyframe Editor, do one of the following:m If the Timing pane is already visible, click the Keyfr

Chapter 6 Keyframes and Curves 529 Box: Drag a selection box to enclose and manipulate keyframes.The Parameter ListAny keyframeable parameters of

Chapter 1 Getting to Know Motion 53 To add a horizontal or vertical guide to the Canvas:1 In the Toolbar, click the Select/Transform tool (or press

530 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 531 Â Reduce Keyframes: Applies a thinning algorithm to the keyframes for the chosen parameter. This reduces the nu

532 Chapter 6 Keyframes and Curves By default, only the animated parameters are active in the graph. Turn individual parameters on and off by click

Chapter 6 Keyframes and Curves 533 To view only the Position parameters for a selected object, do one of the following:m Choose Position from the S

534 Chapter 6 Keyframes and Curves Once your set has been created, you can choose it from the Show pop-up menu.To add parameters to a custom parame

Chapter 6 Keyframes and Curves 535 m With the Keyframe Editor active, hold down the Shift key and press one of the keyboard shortcuts for the built

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

Chapter 6 Keyframes and Curves 537 Although you can save animation curves into the Content category, it is generally recommended that you save item

538 Chapter 6 Keyframes and Curves Note: When you Control-click an animation curve icon in the Library stack, the Edit Description shortcut menu i

Chapter 6 Keyframes and Curves 539 Important: If you leave the Keyframe Editor, or load a different set of curves into the Keyframe Editor, curve

54 Chapter 1 Getting to Know Motion To change the color of the guides:1 Choose Motion > Preferences.2 In the Canvas pane, click or Control-click

540 Chapter 6 Keyframes and Curves This changes the value of the keyframe along the Y axis (up and down).Note: To get out of an active value field

Chapter 6 Keyframes and Curves 541 Controlling KeyframesIn addition to deleting keyframes, you can lock or disable them. Also, there are special se

542 Chapter 6 Keyframes and Curves m Shift-click the keyframes you want to select.Once you have the keyframes selected, you can cut or copy them to

Chapter 6 Keyframes and Curves 543 Note: Pasted keyframes may not make an identical-looking curve to the original if the parameter scales are diff

544 Chapter 6 Keyframes and Curves Dragging or clicking anywhere in the Keyframe Editor replaces existing keyframes.To add individual keyframes usi

Chapter 6 Keyframes and Curves 545 Once you have drawn a selection box, there are a number of ways to manipulate the box and keyframes therein. In

546 Chapter 6 Keyframes and Curves When you set the interpolation for a curve, you select the keyframe you want to modify. The method you choose de

Chapter 6 Keyframes and Curves 547 When different interpolation methods are applied to the different segments of an animation curve, the methods th

548 Chapter 6 Keyframes and Curves Alternatively, you can apply an interpolation method to the entire parameter. In the following example, the Y Po

Chapter 6 Keyframes and Curves 549 The selected interpolation method (Constant in this example) is applied to the entire curve.To change the interp

Chapter 1 Getting to Know Motion 55 Manipulating the 3D ViewThe 3D workspace provides tools for manually changing your view or viewing your scene f

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

Chapter 6 Keyframes and Curves 551 To apply the Before First Keyframe for a parameter:m In the Keyframe Editor, open the Animation menu for the par

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

Chapter 6 Keyframes and Curves 553 To convert extrapolation data into keyframes:1 In the Animation menu, choose Generate Keyframes from the Before

554 Chapter 6 Keyframes and Curves Show audio waveform: Turns on display of the audio waveforms for the selected item in the background of the gra

Chapter 6 Keyframes and Curves 555 When you click this button, Motion automatically rescales the graph both vertically and horizontally so that you

556 Chapter 6 Keyframes and Curves Two Particle behaviors—Scale Over Life and Spin Over Life—have mini-curve editors in the Inspector (when the Inc

Chapter 6 Keyframes and Curves 557 To add keyframes in the mini-curve editor, do one of the following:m Click the curve in the mini-curve editor.m

558 Chapter 6 Keyframes and Curves Because so many of Motion’s effects are displayed in real time, you can perform a sort of “visual mix” and modif

Chapter 6 Keyframes and Curves 559 m Select the keyframe, then choose Delete from the Animation menu for that parameter.Note: To delete all of the

56 Chapter 1 Getting to Know Motion m In the Properties tab of the Inspector, click the Transform parameters reset button.Manipulating Objects in 3

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

Chapter 6 Keyframes and Curves 561 To set the Keyframe Thinning setting:1 Select Off, Reduced, or Peaks Only. 2 Click OK.Off: No thinning is appli

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

Chapter 6 Keyframes and Curves 563 5 Choose Mark > Recording Options, and turn on “Record keyframes on animated parameters only” in the Recordin

7 5657 Using TextText, one of the most essential motion graphics elements, is more powerfully customizable than ever in Motion.In motion graphics

566 Chapter 7 Using Text Using Text in MotionMotion lets you add text to your project directly in the Canvas—select the Text tool, click in the Can

Chapter 7 Using Text 567 After you create the desired text treatment—a customized text behavior or a text style with the perfect gradient colors an

568 Chapter 7 Using Text Note: If you have Final Cut Pro with LiveType installed on your computer, all LiveFonts appear in the Motion Library.Sett

Chapter 7 Using Text 569 Â To create text at the start of the project, select “Start of project.” This means that all text is created at the beginn

Chapter 1 Getting to Know Motion 57 2 Position the pointer over one of the three rotation handles on either side or above the colored arrows. The

570 Chapter 7 Using Text 3 Click in the Canvas.The cursor flashes in the Canvas at the insertion point. Before you enter any text, empty text layer

Chapter 7 Using Text 571 Text as a LayerOnce created, text becomes a layer. Because text layers share most of the characteristics of other layers i

572 Chapter 7 Using Text Note: If no HUD is present when the text is selected, press F7 or D to display the text HUD.When a text layer and the Adj

Chapter 7 Using Text 573 Note: The Properties tab also contains controls to change the blend mode of the text. When you change the blend mode of t

574 Chapter 7 Using Text Note: The text Size sliders (in the HUD and in the Inspector) are limited to 288 points. To set the text to a larger poin

Chapter 7 Using Text 575  Click the “i” button on the HUD. Press Command-3.The Inspector contains all text parameters divided into three panes:

576 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 577 To preview a font in the Library:1 In the Library, click the Fonts category.2 Click the font subcategory you want to previ

578 Chapter 7 Using Text Changing FontsThere are two ways to use the Library to change the font of text in the Canvas. The first method is to drag

Chapter 7 Using Text 579 4 In the Preview area, click Apply.The text is changed to the selected font.Navigating the Font ListTo quickly locate a fo

58 Chapter 1 Getting to Know Motion Playing Your ProjectUse the transport controls at the bottom of the Canvas to play your project and see how it

580 Chapter 7 Using Text Text Tool and the ToolbarThe Text tool is located in the Toolbar above the Canvas in the Create tool set.Note: To customi

Chapter 7 Using Text 581 To adjust margin size without scaling the text, do one of the following:m With the Text tool selected, drag one of the sca

582 Chapter 7 Using Text To select text characters, do one of the following:m Select the Text tool, then drag the text you want to select.m Click i

Chapter 7 Using Text 583 3 Click in the Text editor and begin typing.Note: Because the default text Layout Method is set to Type, when text is ent

584 Chapter 7 Using Text To use the spelling feature in the Text editor, do one of the following:m Click in the Text editor, then choose an option

Chapter 7 Using Text 585 To reset a group of parameters, such as the text Face controls or the Sequence controls of a text behavior, click the rese

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

Chapter 7 Using Text 587 The font family list appears.3 Drag the pointer in the font list up or down to preview fonts.As you drag through the font

588 Chapter 7 Using Text Tracking: Determines the spacing between the text characters. Tracking applies a uniform value between each character.Ker

Chapter 7 Using Text 589 Scale: Scales the text characters either proportionately in X space or Y space. To scale in only X or only Y, click the d

Chapter 1 Getting to Know Motion 59 Record: Enables or disables animation recording. When recording is enabled, the value sliders for all animatea

590 Chapter 7 Using Text Publish To FCP: When using a Motion project as a template in Final Cut Pro, turn on this checkbox to allow editing of cer

Chapter 7 Using Text 591 Color: Sets the text fill color. Click the Color disclosure triangle to adjust the individual Red, Green, and Blue color

592 Chapter 7 Using Text To set the text color in the Inspector:1 Select the text.2 In the Inspector (press Command-3), click the Text tab.3 Click

Chapter 7 Using Text 593 Applying a Gradient to TextIn the Inspector, you can apply a gradient fill to a text. The gradient can be customized and a

594 Chapter 7 Using Text In the Canvas, the default gradient is applied to the selected text. Applying a Preset Gradient to TextThere are two ways

Chapter 7 Using Text 595 The selected gradient is applied to the text.To apply a preset gradient from the Library:1 In the Library, click the Gradi

596 Chapter 7 Using Text 3 Do one of the following: Drag the gradient to the text in the Canvas, Layers tab, or Timeline. Make sure the text is s

Chapter 7 Using Text 597  Linear: Creates a uniform distribution of opacity or color between the tags. Continuous: The opacity or color changes

598 Chapter 7 Using Text To change gradient colors:1 Click the Gradient disclosure triangle to show the Gradient editor.2 To change the color of a

Chapter 7 Using Text 599  Click a color tag, and then use the individual Red, Green, or Blue color channel sliders. Click a color tag, and then c

6 Contents 11 0 8 Using Masks to Aid Keying Effects 111 2 Manipulating Alpha Channels Using Filters Chapter 13 1117 Working with Audio111 8 Audio Fil

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

600 Chapter 7 Using Text 2 Do one of the following: Drag the tag left or right. In the Location parameter, use the slider or value slider to ente

Chapter 7 Using Text 601 A new color tag is added to the gradient. Note: Although the colors and opacity of a gradient can be animated, the number

602 Chapter 7 Using Text The opacity controls are enabled.2 Use the slider or value slider to change the value of the selected opacity tag.The lowe

Chapter 7 Using Text 603 The tags are reversed.To evenly distribute the gradient color or opacity tags:m Click the Distribute Tags icon next to the

604 Chapter 7 Using Text The custom gradient appears in the Gradients category in the Library. Custom presets can be identified in the Library by t

Chapter 7 Using Text 605 Like the preset gradients, a preview of the gradient appears in the Preview area when the gradient is selected in the stac

606 Chapter 7 Using Text Note: The Parameter behavior can be applied to any parameter that appears in the Apply To ("Go") pop-up menu.5

Chapter 7 Using Text 607 5 Click the Texture disclosure triangle.By default, no texture is applied to the text.6 In the Layers or Media tab (of the

608 Chapter 7 Using Text 2 In the Layers or Media tab, drag the image you want to use to replace the existing texture to the Image well.The new ima

Chapter 7 Using Text 609 Editing a TextureIf you are using an image sequence or movie as the text’s texture source, you can specify the start frame

Chapter 1 Getting to Know Motion 61 Clearing the RAM PreviewYou can manually delete the RAM Preview to make room for a new RAM Preview or to free u

610 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 611 4 To position the texture, do one of the following: Press Command, then drag in the Image well. Use the Offset sliders o

612 Chapter 7 Using Text 7 Go to frame 1 (or the start frame of your animation) and play the clip.The texture offset is animated.8 Disable Record.N

Chapter 7 Using Text 613 To use text to mask an image:1 In the Layers tab or Canvas, select the layer you want to use as the texture.2 Choose Objec

614 Chapter 7 Using Text The text masks the image.For more information, see “Using Shapes and Masks” on page 997.Changing Text OpacityUse the Opaci

Chapter 7 Using Text 615 3 Open the Style pane.4 In the Face controls, drag the Opacity slider or enter an opacity value in the field.Note: Becaus

616 Chapter 7 Using Text Resetting the Text Face ControlsYou can reset the text to its original fill, opacity, and blur using the Inspector.To rese

Chapter 7 Using Text 617 Adding a Text OutlineTo create a text outline, turn on Outline in the Style pane of the Text Inspector.To create an outlin

618 Chapter 7 Using Text To reset the text outline parameters:m Click the reset button in the Outline parameter row.Text Glow ControlsUse the Glow

Chapter 7 Using Text 619 4 Turn on the Glow checkbox.The default glow is yellow, with Scale and Opacity set to 100%, and Radius set to 1.Note: You

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

620 Chapter 7 Using Text Note: The Glow “Fill with” options—Color, Gradient, and Texture—are equivalent to the controls for the Face parameters. F

Chapter 7 Using Text 621 Adding a Drop ShadowTo create a text drop shadow, turn on the Drop Shadow parameter in the Style pane of the Text Inspecto

622 Chapter 7 Using Text To change the angle of the shadow from the text:m Drag the Angle dial in a circular motion or use the value slider.Note:

Chapter 7 Using Text 623 To apply a text style from the Library:1 In the Library (press Command-2), select the Text Styles category.2 Select a styl

624 Chapter 7 Using Text The text style is applied to the text.To apply a text style from the Text Inspector: 1 Select the text to which you want t

Chapter 7 Using Text 625 To reset the all text style parameters:m Click the reset button in the Style Preset parameter row.Saving a Custom Text Sty

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

Chapter 7 Using Text 627 Rasterization affects 2D and 3D groups in different ways. When a 2D group is rasterized, the blend modes on objects within

628 Chapter 7 Using Text In addition, when a 3D group is rasterized, the group as a whole can no longer intersect with objects outside of the group

Chapter 7 Using Text 629 Â A small frame appears around the icon for the rasterized 2D group, 3D group, emitter, replicator, or text layer (to the

Chapter 1 Getting to Know Motion 63 A tooltip appears to indicate the new In and Out point of the object, as well as the amount of change from the

630 Chapter 7 Using Text Text Layout ControlsUse the Text Layout controls to specify general arrangement of your text. These controls allow you to

Chapter 7 Using Text 631 Once Flatten is turned on, the text characters no longer move in 3D space.Note: When a text layer that is rotated in Z sp

632 Chapter 7 Using Text Note: Because text characters are 2D (flat) objects, the text may not be visible when you use the orthogonal camera views

Chapter 7 Using Text 633 Fade In: When turned on, fades the text characters on or off. When turned off, the text characters pop on as they appear.

634 Chapter 7 Using Text The text is appears character by character, from left to right (is “typed on”).To create a type-on effect in which the tex

Chapter 7 Using Text 635 Creating Text on a PathTo place text on a path, you create the text and then apply the Path layout method (via the Layout

636 Chapter 7 Using Text The path appears below the text. The default path shape is set to Open Spline and contains three control points.Modifying

Chapter 7 Using Text 637 Important: Text paths are modified in the same way as shape control points. For a complete information, see “Using Shapes

638 Chapter 7 Using Text Note: Manipulating text on a path in 3D only works when Path Shape is set to Open Spline.If you lose the path selection,

Chapter 7 Using Text 639 ∏ Tip: When working with text in a 3D project, especially text that moves close to the camera, set the Render Quality in

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

640 Chapter 7 Using Text Contextual ControlsDepending on the option you choose in the Path Shape pop-up menu, additional contextual controls become

Chapter 7 Using Text 641 Â Amplitude: A slider that defines half the distance from the highest point to the lowest point in the wave. Higher value

642 Chapter 7 Using Text Control Points: Displays the X and Y positions for all control points on a path. Use the value sliders to adjust the posi

Chapter 7 Using Text 643 A thumbnail of the shape appears in the well and the shape is used as the source shape for the text path.Note: You may wa

644 Chapter 7 Using Text To extend a text path:m With the Text tool selected, drag the last control point toward the end of the text.When dragging,

Chapter 7 Using Text 645 A keyframe is added to the Path Offset parameter.A positive value moves the text toward the right and a negative value mov

646 Chapter 7 Using Text Working with Text MarginsBy default, the text Layout Method is set to Type. This creates one long string of text until you

Chapter 7 Using Text 647 Note: You can create a text bounding box (create margins) that extends beyond the edge of the Canvas.Once you release the

648 Chapter 7 Using Text Using Text Animation and Text Sequence BehaviorsWhile you can apply any behavior (Basic Motion, Parameter, or Simulation)

Chapter 7 Using Text 649 Text Animation BehaviorsThe Text Animation behaviors create basic text crawls, scrolls, “type-on” effects, and tracking an

Chapter 1 Getting to Know Motion 65 To increase or decrease the current frame or duration one frame at a time:m Click the left or right arrow for t

650 Chapter 7 Using Text 2 Select a text behavior in the stack.Like other behaviors in Motion, a preview of the animation plays in the Preview area

Chapter 7 Using Text 651 Note: To show and hide animation paths, use the View pop-up menu in the upper-right corner of the main window (above the

652 Chapter 7 Using Text Note: Although the slider value is limited to 100, you can enter a higher value in the Offset value slider.In the followi

Chapter 7 Using Text 653 To change the In point of the Crawl Left behavior:1 Select the Crawl Left behavior.The Crawl Left behavior is selected in

654 Chapter 7 Using Text For more information about the Timeline, see Chapter 4, “Using the Timeline” on page 321Sequence TextThe Sequence Text beh

Chapter 7 Using Text 655 Important: Before any animation can occur, you must explicitly add at least one parameter to the behavior from within the

656 Chapter 7 Using Text 4 Set Scale to the largest (or smallest) value you want the text to become in your animation. In this example, the Scale v

Chapter 7 Using Text 657 6 Add the Rotation parameter to the Sequence Text behavior. (Choose Format > Rotation from the Add pop-up menu (in the

658 Chapter 7 Using Text Note: Make sure that the Map Animation parameter is set to To Entire Object.9 In the Parameter row, click the Add pop-up

Chapter 7 Using Text 659 Modifying the Sequence Text BehaviorUse the Sequence controls to repeat the animation over the duration of the text, to ra

66 Chapter 1 Getting to Know Motion To modify the current frame or duration dynamically:m Click the center area of the field (where the numbers are

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

Chapter 7 Using Text 661  Word: Selects the separate words of text to be affected by the values set in the applied parameters. Line: Selects th

662 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 663 Using the same 100 to 250% Scale animation example, the first character grows from 100% to 250% and holds at 250%, the sec

664 Chapter 7 Using Text 3 Choose Custom from the Traversal pop-up menu.In the Canvas, the first few characters are selected by default, and are af

Chapter 7 Using Text 665 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

666 Chapter 7 Using Text Once the Text Tracking behavior is applied to text, the Behaviors icon appears in the Tracking parameter (in the Format pa

Chapter 7 Using Text 667 Type OnThe Type On behavior quickly creates a “type-on” effect. To use the Type On behavior:m Apply the Type On behavior (

668 Chapter 7 Using Text To increase the speed of the type on effect:1 Select the Type On behavior.The Type On behavior is selected in the mini-Tim

Chapter 7 Using Text 669 Example: Using a Text Sequence BehaviorIn this section, the Drop In From Left behavior is used to illustrate working with

Chapter 1 Getting to Know Motion 67 Project PaneOnce you begin building more complex projects, you can view the components of your project in a lis

670 Chapter 7 Using Text Because the behavior creates an animation in which the text starts above its original position and drops in, the behavior

Chapter 7 Using Text 671 As with the Sequence Text behavior, the specific text parameters that the behavior uses to create the animation are listed

672 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 673 Changing the Speed of Text Sequence BehaviorsWith the Drop In From Left behavior selected, notice that the duration of the

674 Chapter 7 Using Text To add a parameter to a sequence behavior:1 Select the sequence behavior to which you want to add a new parameter.2 In the

Chapter 7 Using Text 675 3 Set a value in the new parameter (Scale). In this example, the Scale value is set to 150%.In addition to the text droppi

676 Chapter 7 Using Text The behavior is saved to the Library. A custom behavior is represented by a user icon in the lower-right corner of the Beh

Chapter 7 Using Text 677 To create a text animation using non-text behaviors:1 From the Basic Motion subcategory, apply the Throw behavior to the t

678 Chapter 7 Using Text Note: Remember that behaviors often contain parameters for how layers to which the behavior is applied are affected. Thes

Chapter 7 Using Text 679 ∏ Tip: When working with text in a 3D project, especially text that moves close to the camera, set the Render Quality in

68 Chapter 1 Getting to Know Motion Layers TabThe Layers tab of the Project pane provides an overview of all the layers, effects, and masks current

680 Chapter 7 Using Text To create text tracking keyframes:1 Go to the frame where you want to start the tracking animation.2 Select the text.3 Ena

Chapter 7 Using Text 681 To view the keyframes for a text parameter in the Keyframe Editor, click that parameter’s Animation menu icon, then choose

682 Chapter 7 Using Text To apply a LiveFont to text, do one of the following:m Drag the LiveFont from the Library to the text in the Canvas, Layer

Chapter 7 Using Text 683 Modifying Applied LiveFontsUse the following guidelines to modify the default LiveFont animation. The LiveFont parameters

684 Chapter 7 Using Text Speed: Allows you to play the LiveFont movie more quickly or slowly based on a percentage of the default speed. Play: Se

8 6858 Working with ParticlesUsing particle systems, you can simulate real-world effects such as smoke and sparks, or you can bend the rules and

686 Chapter 8 Working with Particles For step-through examples of creating particles, including how to set up a 3D particle system, see “Particle S

Chapter 8 Working with Particles 687 Anatomy of a Particle SystemEvery particle system is made up of an emitter and one or more particle cells. Eac

688 Chapter 8 Working with Particles You can also track an emitter to a moving object in a clip, or apply existing tracking data in your project to

Chapter 8 Working with Particles 689 Using Particle SystemsDespite their sophistication, particle systems are easy to set up and simple to use. Thi

Chapter 1 Getting to Know Motion 69 The information is displayed in a column view and there are many controls to let you customize the view while y

690 Chapter 8 Working with Particles Using the Particle LibraryThe easiest way to add a particle system to your project is to use one of the preset

Chapter 8 Working with Particles 691 An animated preview of the selected particle emitter plays in the Preview area. While it is playing, you can d

692 Chapter 8 Working with Particles The new particle system layer appears in your project, composited against any other layers that you’ve already

Chapter 8 Working with Particles 693 Note: You can also use a group as the source for an emitter cell, but keep in mind that your project’s intera

694 Chapter 8 Working with Particles Once an emitter is added to the project, the following occurs:Â An emitter appears in the Layers tab and is se

Chapter 8 Working with Particles 695 By default, new cells emit one particle per frame in all directions (for 30 fps projects), and each particle m

696 Chapter 8 Working with Particles Additional cells can be created by either selecting multiple sources when initially creating the emitter, or b

Chapter 8 Working with Particles 697 When 3D is enabled in the Emitter tab of the Inspector, the Emitter HUD offers additional 3D controls. In 3D,

698 Chapter 8 Working with Particles For particle systems containing multiple cells, the Emitter HUD parameters simultaneously modify the effect of

Chapter 8 Working with Particles 699  Shift (while adjusting Range): When working with a 2D emitter, restricts to 22.5-degree increments. Comman

Contents 711 9 3 Shape and Mask Commands11 9 4 Toolbar11 9 5 3D Commands11 9 6 Using the Command EditorAppendix B 1203 Video and File Formats1203 Supp

70 Chapter 1 Getting to Know Motion Status: Contains a number of several possible icons to indicate the status of the object. The lock icon lets y

700 Chapter 8 Working with Particles Emission Latitude/Emission Longitude: These combined parameters specify the emission direction (in degrees la

Chapter 8 Working with Particles 701 2 In the HUD, click anywhere along the outer edge of the emission control and drag to define a narrow segment

702 Chapter 8 Working with Particles 4 Drag to lengthen the arrow so that it is approximately halfway between the center and the edge of the emissi

Chapter 8 Working with Particles 703 Modifying Emitter PropertiesEmitter parameters can be modified in the Properties tab of the Inspector like any

704 Chapter 8 Working with Particles The Attach to Emitter parameter in the Particle Cell tab of the Inspector modifies this behavior. When set to

Chapter 8 Working with Particles 705 Note: This parameter is not available with the Box or Sphere emitter shapes, or when the 3D checkbox is turne

706 Chapter 8 Working with Particles You can also apply masks to the emitter object itself.For more information on working with masks, see “Masking

Chapter 8 Working with Particles 707 For example, you can create a particle system that simulates an explosion by offsetting the appearance of thre

708 Chapter 8 Working with Particles Additionally, a 3D emitter (with the 3D checkbox turned on and Render Particles set to In Global 3D (Better) i

Chapter 8 Working with Particles 709 In the next illustrations, the group that contains the emitter is rasterized. The rasterization is triggered b

Chapter 1 Getting to Know Motion 71 Editing ColumnsAny window that contains columns of data can be reorganized to suit your needs. You can change t

710 Chapter 8 Working with Particles Note: When a group is rasterized, cameras and lights in the project still interact with objects within the ra

Chapter 8 Working with Particles 711 Creating Graphics and Animations for Particle SystemsCreating a new particle system from scratch begins with d

712 Chapter 8 Working with Particles Note: Keep in mind that using a movie as the source cell for an emitter may impact your project’s interactivi

Chapter 8 Working with Particles 713 Emitter ParametersSeveral parameters in the Emitter tab are identical to those found in the Emitter HUD, with

714 Chapter 8 Working with Particles The parameter is displayed in the Keyframe Editor in a new, untitled curve set.To open a particle system’s Emi

Chapter 8 Working with Particles 715 If a particle system has two or more cells, the Emitter tab looks much different. The list of parameters is mu

716 Chapter 8 Working with Particles In addition, when the 3D checkbox is turned on, the Render Particles, Emission Latitude, Emission Longitude, a

Chapter 8 Working with Particles 717 Rectangle: Particles emerge from a rectangle along its edge, or in a tile or random fill pattern. Using the o

718 Chapter 8 Working with Particles Burst: Particles emerge from a burst pattern. Using the onscreen controls (with the Adjust Item tool), you ca

Chapter 8 Working with Particles 719 Geometry: Particles emerge from the edge of a shape, defined by a spline object used as the shape source. The

72 Chapter 1 Getting to Know Motion To remove an object from the Layers list, do one of the following:m Select the object you want to remove, then

720 Chapter 8 Working with Particles Box: This option is available when the 3D checkbox is turned on in the Emitter tab. Particles are emitted fro

Chapter 8 Working with Particles 721 Size (Rectangle, Box): Defines the size of the rectangle or cube from which particles are emitted. This param

722 Chapter 8 Working with Particles Tile Offset (Rectangle, Circle, Image, Box, Sphere): This parameter appears when Tile Fill is chosen from the

Chapter 8 Working with Particles 723 Start Point (Line, Wave): Two sliders that define, in X and Y coordinates, the first point of the line used a

724 Chapter 8 Working with Particles Render Order: A pop-up menu that determines whether new particles are drawn on top of or underneath particles

Chapter 8 Working with Particles 725 Â In Local 3D (Faster): The default setting, renders particles faster but does not allow for intersections wi

726 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 727 Life: A slider that defines the duration of every particle, in seconds. This parameter specifies how long eac

728 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 729 Â Colorize: Particles are tinted using the color specified in the Color parameter. Additional Color and Opaci

Chapter 1 Getting to Know Motion 73 Note: Hiding the effect in the Layers list does not disable it from view in the Canvas nor prevent you from mo

730 Chapter 8 Working with Particles  Pick From Color Range: Particles are tinted at random, with the range of possible colors defined by the Col

Chapter 8 Working with Particles 731 Scale Randomness: A slider that defines an amount of variance in the scale of generated particles. A value of

732 Chapter 8 Working with Particles  Lines: Each particle is represented by a line. This is a good preview mode to use to analyze the vector of

Chapter 8 Working with Particles 733 Note: Whatever is selected in the Show Particles As pop-up menu appears in your final render.Random Seed: Al

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

Chapter 8 Working with Particles 735 Â Gradient preset pop-up menu: Gradients from the Library (default or custom) appear in this pop-up menu. Cho

736 Chapter 8 Working with Particles The Particle Cell parameters appear.Animating Objects in Particle SystemsYou can add behaviors to a particle s

Chapter 8 Working with Particles 737 Keyframing an emitter’s Emitter tab parameters is a good way to modify the particle system’s overall character

738 Chapter 8 Working with Particles Applying Behaviors to CellsSimulation behaviors that are applied directly to cells are in turn applied to each

Chapter 8 Working with Particles 739 Scale Over LifeThis behavior lets you grow or shrink the particles in a system over the duration of each parti

74 Chapter 1 Getting to Know Motion To turn behaviors off for a layer or group:m Click the Behavior icon. A red slash appears over the icon and the

740 Chapter 8 Working with Particles Increment Type: Determines which method is used to spin particles over their lifetime. There are three option

Chapter 8 Working with Particles 741 For more information on applying filters to layers in your project, see “Using Filters” on page 841. For more

742 Chapter 8 Working with Particles  A cell containing the image to be “particle-ized” appears underneath the emitter. The original source layer

Chapter 8 Working with Particles 743 Â Advance to frame 100. The resulting image now looks similar to this:7 Apply a filter to the emitter.In this

744 Chapter 8 Working with Particles Example 2: Creating Animated Pixie DustThis example shows you how to create a particle system that uses two di

Chapter 8 Working with Particles 745 Note: If you do not have any additional images in your project, you can create them in the project or search

746 Chapter 8 Working with Particles The resulting image should look approximately like this:Note: If necessary, disable the original Spark12 sour

Chapter 8 Working with Particles 747 8 Use the Opacity Over Life control to make this cell’s particles fade out over their life.9 To make the spark

748 Chapter 8 Working with Particles 14 Use the following illustration as a guide to adjust the Emission Range and Angle so the particles appear to

Chapter 8 Working with Particles 749 2 If your project does not contain a camera, click the New Camera button in the Toolbar.If your project is a 2

Chapter 1 Getting to Know Motion 75 Add Image to Mask: Adds an image mask to the selected layer. An image mask creates transparency in another obj

750 Chapter 8 Working with Particles If you want your particles to intersect with other rotated layers, choose In Global 3D (Better) from the Rende

Chapter 8 Working with Particles 751 You can copy particle presets you create from this location to give to other Motion users, or you can place pa

9 7539 Using the ReplicatorThe Replicator allows you to easily create patterns of repeating elements that can be quickly animated in mechanical o

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

Chapter 9 Using the Replicator 755 You can replicate nearly any layer in Motion, including images, shapes, text, movies, and image sequences. You c

756 Chapter 9 Using the Replicator Each cell appears under the Replicator layer in the Layers tab and Timeline layers list. Once replicated, the so

Chapter 9 Using the Replicator 757 When Spiral is the selected shape, parameters appear that allow you to define the radius of the spiral, the numb

758 Chapter 9 Using the Replicator Very different looks can be achieved by changing only a few parameters.As with any effect in Motion, replicator

Chapter 9 Using the Replicator 759 Note: Keep in mind that replicating a movie, especially with applied filters, adversely impacts your computer’s

76 Chapter 1 Getting to Know Motion Kind: Identifies the type of media, including QuickTime movie, still image, QuickTime audio, or PDF. See Appen

760 Chapter 9 Using the Replicator A preview appears in the Preview area.Note: If the preview does not automatically start playing, click the Play

Chapter 9 Using the Replicator 761 3 When the pointer becomes a curved arrow, release the mouse button.The original source object is replaced with

762 Chapter 9 Using the Replicator As mentioned above, the rest of the controls in the HUD are dynamic—they appear depending on what is selected fr

Chapter 9 Using the Replicator 763 2 Select the object, then do one of the following: In the Toolbar, click the Replicate icon. Choose Object >

764 Chapter 9 Using the Replicator  In the Toolbar, the Adjust Item tool is selected so that you can immediately begin using the replicator’s onsc

Chapter 9 Using the Replicator 765 The following example uses two shapes as source layers for a single replicator.To use multiple source layers for

766 Chapter 9 Using the Replicator The cells of the default rectangle pattern are created from the source layers.When multiple cells create a repli

Chapter 9 Using the Replicator 767 The elements in the pattern are stacked according to the order they appear in the Layers tab and Timeline layers

768 Chapter 9 Using the Replicator To display the Replicator HUD:m In the Layers tab or Timeline layers list, select the replicator you want to dis

Chapter 9 Using the Replicator 769 For replicators containing multiple cells, the Replicator HUD parameters simultaneously modify the cell’s parame

Chapter 1 Getting to Know Motion 77 Hiding ColumnsYou can choose which of the columns are displayed by clicking the right angle bracket at the righ

770 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 771 Columns: Defines the number of vertical columns in the pattern. Pattern elements are distributed at points alon

772 Chapter 9 Using the Replicator About Rasterization and GroupsSome operations, as well the application of certain filters or a mask, cause a gro

Chapter 9 Using the Replicator 773 In the next illustrations, the group that contains the replicator is rasterized. The rasterization is triggered

774 Chapter 9 Using the Replicator Note: When a group is rasterized, cameras and lights in the project still interact with objects within the rast

Chapter 9 Using the Replicator 775 To display the replicator Properties Tab:m In the Layers tab or Timeline layers list, select the replicator, the

776 Chapter 9 Using the Replicator ScaleUsing the Scale parameter resizes the replicator, affecting the size of the pattern elements in X, Y, or Z

Chapter 9 Using the Replicator 777 LightingA 2D or 3D replicator can interact with lights in a 3D project. As with all layers, the Shading pop-up m

778 Chapter 9 Using the Replicator Note: This parameter is only available when a 2D replicator shape is selected.CropThe Crop controls in the Prop

Chapter 9 Using the Replicator 779 Using the Replicator Onscreen ControlsIn addition to using the Position parameters in the Properties tab or the

78 Chapter 1 Getting to Know Motion m With the Media tab active, choose File > Import (or press Command-I). In the Import Files dialog, navigate

780 Chapter 9 Using the Replicator If the shape is a rectangle, dragging a corner or edge of its bounding box changes the Size parameter value. You

Chapter 9 Using the Replicator 781 The Line and Wave replicator shapes can have start and end points that exist in Z space. In the following image,

782 Chapter 9 Using the Replicator  Control-click the layer or group, then choose Isolate from the shortcut menu. Choose Object > Isolate.Clic

Chapter 9 Using the Replicator 783 When a mask is applied to a replicator, the entire pattern is masked.For more information on working with masks,

784 Chapter 9 Using the Replicator Replicator cell parameters control the behavior and appearance of the elements within the replicator pattern. Fo

Chapter 9 Using the Replicator 785 Each cell has its own Replicator Cell tab that contains all parameters for that cell. To access the cell paramet

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

Chapter 9 Using the Replicator 787 Â Circle: Elements are positioned in a circle along the replicator outline, or in a tile or random fill pattern

788 Chapter 9 Using the Replicator  Spiral: Elements are positioned in a spiral pattern. Using the onscreen controls (with the Adjust Item tool),

Chapter 9 Using the Replicator 789 Â Geometry: Elements are positioned along the edge of a shape, defined by a spline object used as the shape sou

Chapter 1 Getting to Know Motion 79 Delete: Removes the selected file.When no items are selected in the tab, the shortcut menu provides a differen

790 Chapter 9 Using the Replicator  Box: This option is available when the 3D checkbox is turned on in the Replicator tab. Elements are positione

Chapter 9 Using the Replicator 791 Note: Keep in mind that just because a parameter is described in a specific section below does not mean that pa

792 Chapter 9 Using the Replicator To use an image for a replicator shape:1 Import the image you want to use as the pattern source into your projec

Chapter 9 Using the Replicator 793 Emission Alpha Cutoff (Image): When the Image Source object contains an alpha channel, this slider defines the

794 Chapter 9 Using the Replicator Note: When the cell Color Mode is set to Over Pattern, a gradient is applied to the elements over the replicato

Chapter 9 Using the Replicator 795 Â By Column, Row, Rank: Builds the elements over the pattern by column, row, then rank starting from the Origin

796 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 797 Â Lower Left: The elements originate in the lower-left corner of the pattern and end in the upper-right corner.

798 Chapter 9 Using the Replicator  Back Upper Left: The elements originate in the back upper-left corner of the pattern and end in the front low

Chapter 9 Using the Replicator 799 Â Center: The elements originate in the center of the pattern and move outward. This is the default Origin opti

80 Chapter 1 Getting to Know Motion The layers are sorted in the column and a small arrow appears indicating the direction of the sort.To reverse t

800 Chapter 9 Using the Replicator Points: Defines the number of evenly distributed element points on the line or wave. When the Adjust Item tool

Chapter 9 Using the Replicator 801 Burst and Spiral Shape ParametersWhen the selected shape is a Burst or Spiral, the following parameters become a

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

Chapter 9 Using the Replicator 803 Other Persistent ParametersIn addition to the Shape parameter, Shuffle Order, 3D, Reverse Stacking, and Face Cam

804 Chapter 9 Using the Replicator Face Camera: When this checkbox is turned on, the pattern elements actively face the camera when the camera or

Chapter 9 Using the Replicator 805 Replicator Cell ParametersThe replicator cell parameters apply to the elements (the replicated layers) created w

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

Chapter 9 Using the Replicator 807 Â Animate: This pop-up menu allows you to change the interpolation for animated 3D rotation channels. By defaul

808 Chapter 9 Using the Replicator Angle Randomness: Defines an amount of variance in the rotation of the replicator cells. A value of 0 results i

Chapter 9 Using the Replicator 809 Â Over Pattern: Elements are tinted based on how they are ordered in the pattern. The gradient editor defines t

Chapter 1 Getting to Know Motion 81 To display the Audio tab, do one of the following:m Choose Window > Audio.m Press Command-6.m If the Project

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

Chapter 9 Using the Replicator 811 Â Point Size: This parameter appears when Points is selected from the Show Objects As pop-up menu. This allows

812 Chapter 9 Using the Replicator  Wireframe: Each pattern element is represented by a bounding box. Because the bounding boxes are good indicat

Chapter 9 Using the Replicator 813 Additional Replicator Cell Parameters Based on the Selected Color ModeEach of the options in the Color Mode pop-

814 Chapter 9 Using the Replicator  Gradient preset pop-up menu: Gradients from the Library (default or custom) appear in this pop-up menu. Choos

Chapter 9 Using the Replicator 815 Source Start Frame Offset: Offsets the start frame chosen in the Source Start Frame parameter over the pattern

816 Chapter 9 Using the Replicator You can also use keyframes to animate the parameters in a replicator’s Properties tab. Parameters in this tab af

Chapter 9 Using the Replicator 817 3 In the Replicator tab of the Inspector, do the following:a Select Circle from the Shape pop-up menu.b Select O

818 Chapter 9 Using the Replicator f Turn on Additive Blend.The color values in every overlapping pixel are added together, and all overlapping mid

Chapter 9 Using the Replicator 819 4 Go frame 1 (press Home), and enable Record (press A).When Record is enabled, the Record button in the transpor

82 Chapter 1 Getting to Know Motion Editing Columns in the Audio TabYou can control which columns are displayed by clicking the right angle bracket

820 Chapter 9 Using the Replicator To change the anchor point of a replicator source layer:1 In the Layers tab, select the source. Although not req

Chapter 9 Using the Replicator 821 For more information on the Oscillate and other Parameter behaviors, see “Parameter Behaviors” on page 430.Displ

822 Chapter 9 Using the Replicator The starting point for the sequence animation is based on the replicator’s origin or build style. For example, i

Chapter 9 Using the Replicator 823 Underneath the Parameter pop-up menus are the Sequence Control parameters, which determine how the added paramet

824 Chapter 9 Using the Replicator To add and animate Sequence behavior parameters:1 With the Sequence Replicator behavior selected, display the Be

Chapter 9 Using the Replicator 825 In addition to creating a more graceful animation, changing the Spread value can also dramatically change the ap

826 Chapter 9 Using the Replicator The animation begins at the original value for any added parameter, then transforms to the value you specify in

Chapter 9 Using the Replicator 827 4 In the Sequencing pop-up menu, choose Through.The sequence goes through a full animation cycle starting at the

828 Chapter 9 Using the Replicator For more information the Sequence Replicator parameters, see “Sequence Replicator Parameters” on page 828.Modify

Chapter 9 Using the Replicator 829 Â Position: Defines the offset of the elements from their original position. Click the disclosure triangle next

Chapter 1 Getting to Know Motion 83 Additional Options in the Audio TabQuite a few additional features are available in the Audio tab, accessible t

830 Chapter 9 Using the Replicator  Through: Specifies that the sequence goes through a full animation cycle starting at the original value of th

Chapter 9 Using the Replicator 831  Object: Applies the sequence animation over each element as its own entity. Object is the default setting. A

832 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 833 Â End: Specifies the end of the range of elements affected by the sequence animation as it moves over the repli

834 Chapter 9 Using the Replicator  Ping Pong: Completes the sequence animation cycle forward, then completes the animation backward, then forwar

Chapter 9 Using the Replicator 835 5 At the frame where you want to begin the animation, drag the Location slider (or use the value slider) to set

836 Chapter 9 Using the Replicator 3 The Parameter behavior is added, and appears above the Sequence Replicator behavior in the Behaviors tab. A Pa

Chapter 9 Using the Replicator 837 For more information on applying Parameter behaviors to the Sequence Replicator behavior, see “Using Parameter B

838 Chapter 9 Using the Replicator Remember that behaviors often contain parameters that control how layers are affected. These controls greatly af

Chapter 9 Using the Replicator 839 Saving Custom Replicators to the LibraryOnce you have created a replicator that makes you particularly happy, yo

84 Chapter 1 Getting to Know Motion Timing PaneAt some point in most projects, you want to view the contents of your composition represented as a g

10 84110 Using FiltersFilters are an exciting way to spice up any motion graphics project. With the magic of Motion, you can preview and tweak im

842 Chapter 10 Using Filters Working with FiltersYou add filters to objects in much the same way as behaviors, and you have the same ability to adj

Chapter 10 Using Filters 843 Once a filter is selected in the stack, a preview and brief description of the filter appears in the Library Preview a

844 Chapter 10 Using Filters m Select an object in the Canvas, Layers tab, or Timeline, and in the toolbar, select the Add Filter icon, then select

Chapter 10 Using Filters 845 Where Filters AppearAfter you apply a filter, it appears underneath the object to which it is applied in the Layers ta

846 Chapter 10 Using Filters The most recently applied filters appear at the top of the Filters tab of the Inspector.When a filter is applied to an

Chapter 10 Using Filters 847 Using the HUDEach filter has a subset of parameters that appear in its HUD. All of the controls available for modifyin

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

Chapter 10 Using Filters 849 To animate filter parameters using the Animation menu:1 Select the filter you want to animate.2 Go to the frame where

Chapter 1 Getting to Know Motion 85 The Timing pane contains three tabs: Timeline, Keyframe Editor, and Audio Editor. Each of these allows you to

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

Chapter 10 Using Filters 851 Enabling, Renaming, and Locking FiltersWhile the Filters tab in the Inspector contains all of the editable parameters

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

Chapter 10 Using Filters 853 To duplicate a filter:m Option-drag the filter from its current location to the new object to which you want to apply

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

Chapter 10 Using Filters 855 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

856 Chapter 10 Using Filters Rasterization affects 2D and 3D groups in different ways. When a 2D group is rasterized, the blend modes on objects wi

Chapter 10 Using Filters 857 Matte Matte MagicSharpen Unsharp MaskStylize Bad TV Circle Screen Circles Crystallize Edge Work Edges Extrude

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

Chapter 10 Using Filters 859 Circle BlurCreates a circular blur within an image, specified by a center point which sets the center of the blur effe

86 Chapter 1 Getting to Know Motion On (not labeled): This column (identical to the On column in the Layers tab) contains an activation checkbox t

860 Chapter 10 Using Filters When this filter is initially applied, Compound Blur behaves as if there was a black image applied to the Blur Map wel

Chapter 10 Using Filters 861 Use this filter when you are trying to blur one image to match video or stills that were shot with a camera. For examp

862 Chapter 10 Using Filters Note: Remember that the more filters you use in a project, the more you impact the performance of Motion.Parameters i

Chapter 10 Using Filters 863 Gaussian blur is entirely appropriate for most motion graphics tasks, and can be animated for a variety of focus-contr

864 Chapter 10 Using Filters This filter causes rasterization in 3D groups.Parameters in the InspectorPoint 1: Sets the position of the first poin

Chapter 10 Using Filters 865 Display: Sets how the Movement Blur is displayed. Values are “Motion Blur” and “Optical Flow.” Motion Blur shows the

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

Chapter 10 Using Filters 867 Soft FocusThis filter creates an effect that’s similar to duplicating an object, using the Screen blend mode to compos

868 Chapter 10 Using Filters This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the position of the center of t

Chapter 10 Using Filters 869 Parameters in the InspectorAmount: Sets the radius of the blur, ranging from 0 (no blur) to 32.Center: Sets the posi

Chapter 1 Getting to Know Motion 87 Timeline Layers List Effects ControlsWhen certain effects are applied to an object, icons appear next to the na

870 Chapter 10 Using Filters Mix: Sets what percentage of the original image is blended with the blurred image. Values range from 0 to 100%.HUD Co

Chapter 10 Using Filters 871 Note: Because the Widescreen filter is masking the object to which it is applied, the object is not cropped and retai

872 Chapter 10 Using Filters BrightnessBoosts or lowers the uniform brightness of an image by the specified amount.Although this may seem to be the

Chapter 10 Using Filters 873 Parameters in the InspectorRed – Red: Sets the amount of input red added to the output red. The default value is 1.0,

874 Chapter 10 Using Filters Blue – Green: Sets the amount of input green added to the output blue. The default value is 0, which leaves the blue

Chapter 10 Using Filters 875 Include Alpha: Sets whether or not to include the alpha channel in the mono calculation. The filter must be in monoch

876 Chapter 10 Using Filters Mix: Sets what percentage of the original image is blended with the filtered image. Values range from 0 to 100%.HUD C

Chapter 10 Using Filters 877 Midtone Green: Picks the color gain applied to the midtone range of the green color channel.Midtone Blue: Picks the

878 Chapter 10 Using Filters Reduce To: Selects the number of colors in the reduced object. Choices are 4 Colors, 3 Colors, or 2 Colors.Match Colo

Chapter 10 Using Filters 879 Interesting colorized “negative” effects can be achieved by remapping the blacks in an image to a lighter color than t

88 Chapter 1 Getting to Know Motion Masks, behaviors, and filters can be displayed as layers in the Timeline, just as they are displayed in the Lay

880 Chapter 10 Using Filters Parameters in the InspectorContrast: Sets the amount of contrast to be applied to the object. Values range from 0 (no

Chapter 10 Using Filters 881 HUD ControlsThe HUD contains the same controls as the Inspector, with the exception of the mix control.EqualizeRemaps

882 Chapter 10 Using Filters This is one the most useful filters for correcting poor exposure in images, and should almost always be used first bef

Chapter 10 Using Filters 883 Offset: Sets an amount, in degrees, that the color wheel is offset to determine color application. Values start at 0

884 Chapter 10 Using Filters The saturation controls the intensity of the color in an image, with a high saturation resulting in vivid color, and a

Chapter 10 Using Filters 885 InvertInverts all color and brightness in an image. This filter can be used to turn a scanned negative image into a pr

886 Chapter 10 Using Filters White In: Sets the In point for white, above which values will not be output.White Out: Sets the maximum brightness

Chapter 10 Using Filters 887 SaturateIncreases or decreases the amount of color in an image by a specified amount. This filter can be used to mute

888 Chapter 10 Using Filters This filter is good for that “old-time western” look.Parameters in the InspectorAmount: Sets the amount of sepia tone

Chapter 10 Using Filters 889 Parameters in the InspectorThreshold: Sets the threshold of selection for color substitution. Values range from 0 to

Chapter 1 Getting to Know Motion 89 Audio files appear in a separate section from other objects. You can move the divider between the audio and vid

890 Chapter 10 Using Filters Intensity: Sets the amount of tint applied to the object.HUD ControlsThe HUD contains the same controls as the Inspec

Chapter 10 Using Filters 891 This filter causes rasterization in 3D groups.Parameters in the InspectorX Rotation: Sets the amount, in degrees, tha

892 Chapter 10 Using Filters Black HoleThis filter distorts an image by causing part of it to disappear into the specified center point, and by bow

Chapter 10 Using Filters 893 This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the position of the center of t

894 Chapter 10 Using Filters This filter causes rasterization in 3D groups.Parameters in the InspectorMap Image: An image well that displays a thu

Chapter 10 Using Filters 895 This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the position of the center of t

896 Chapter 10 Using Filters This filter causes rasterization in 3D groups.Parameters in the InspectorMap Image: An image well that displays a thu

Chapter 10 Using Filters 897 This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the position of the center of t

898 Chapter 10 Using Filters Parameters in the InspectorTwist: Sets the amount the object is rotated as it is displaced. Values range from 0 to 1.

Chapter 10 Using Filters 899 Parameters in the InspectorRadius: Sets the radius of the fisheye lens effect. Values range from 0 (nothing distorted

9PrefaceMotion 3 Documentation and ResourcesYou can use Motion to create sophisticated motion graphics content for broadcast and video. Discover

90 Chapter 1 Getting to Know Motion To change the width of the Timeline layers list:1 Position the pointer over the rightmost edge of the Timeline

900 Chapter 10 Using Filters Parameters in the InspectorCenter: Sets the position of the center of the fun house mirror.Width: Sets the width of

Chapter 10 Using Filters 901 Glass DistortionSimulates the effect of your object being deformed as it shows through a piece of glass. An image well

902 Chapter 10 Using Filters Insect EyeMaps a repeating hexagonal distortion pattern to an image, mimicking the POV of an insect. This filter cause

Chapter 10 Using Filters 903 This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the position of the center of t

904 Chapter 10 Using Filters Parameters in the InspectorCenter: Sets the position of the center of the poke.Radius: Sets the radius of the poke e

Chapter 10 Using Filters 905 HUD ControlsThe HUD contains the same controls as the Inspector, with the exception of the Mix control.Ring LensThis f

906 Chapter 10 Using Filters This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the position of the center of t

Chapter 10 Using Filters 907 Parameters in the InspectorCenter: Sets the position of the origin of the effect.Amplitude: Sets the width of the wa

908 Chapter 10 Using Filters SphereSimulates the effect of an image being wrapped around a sphere. This filter can be used to turn an image of a ma

Chapter 10 Using Filters 909 Parameters in the InspectorCenter: Sets the position of the center of the starburst.Radius: Sets the radius of pixel

Chapter 1 Getting to Know Motion 91 To move backward a specific number of frames:m Type a minus sign (–) and then the number of frames you want to

910 Chapter 10 Using Filters TargetThe Target filter draws bands of concentric circles outward from the center point value. The target colors are d

Chapter 10 Using Filters 911 This filter causes rasterization in 3D groups.Parameters in the InspectorAmount: Sets the radius of the twirl. Larger

912 Chapter 10 Using Filters UnderwaterApplies an animated distortion to your object, as if it is being viewed through water. This filter causes ra

Chapter 10 Using Filters 913 This filter causes rasterization in 3D groups.Parameters in the InspectorAmplitude: Sets the amplitude of the waves.

914 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 915 BloomThis filter simulates the effect of extremely overexposed highlights on film. Highlights above a certain threshol

916 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 917 GloomThis filter creates a muted, dark glow. The image is darkened, and areas of fine detail are evened out into large

918 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 919 Outer GlowAdds a glow to the alpha channel of an object. The result is a glow around the outside of an object, while t

92 Chapter 1 Getting to Know Motion To collapse or expand a group or layer:m Click the disclosure triangle to the left of the group or layer name i

920 Chapter 10 Using Filters OverdriveCreates an animated glow effect by compositing numerous glowing tinted duplicates of the original image. Fine

Chapter 10 Using Filters 921 A common example of color keying is the meteorologist on TV. This person is always seen standing in front of an animat

922 Chapter 10 Using Filters Color KeyThis filter can pull a key based on any color you select. Bear in mind that if the color is too close to that

Chapter 10 Using Filters 923 Luma KeyLuma Key pulls a key from your object based on a selected brightness level. This can be effective if you’re ke

924 Chapter 10 Using Filters Primatte RTThe Primatte RT filter is a high-quality keying filter, which renders the blue or green areas of the image

Chapter 10 Using Filters 925 An Example Using Primatte RTGetting the basics down of using Primatte RT is easy. Here’s an example.To create a simple

926 Chapter 10 Using Filters The Primatte RT filter makes a guess as to the non-subject color you are trying to remove. It makes a guess based on t

Chapter 10 Using Filters 927 HUD ControlsThe HUD contains the same controls as the Inspector, with the exception of the Mix control.Matte FiltersMa

928 Chapter 10 Using Filters Parameters in the InspectorShrink: Shrinks the edges of the matte with a soft edge to eat into the alpha channel, to

Chapter 10 Using Filters 929 Unsharp MaskSimilar to Sharpen, this filter provides many more options to refine and control the amount of sharpening

Chapter 1 Getting to Know Motion 93 The playhead tracks the frame currently visible in the Canvas. You can drag the playhead or reposition it using

930 Chapter 10 Using Filters Add NoiseThis filter adds an overlay noise of the selected type to an image. This filter causes rasterization in 3D gr

Chapter 10 Using Filters 931 Bad TVThis filter simulates poor analog television reception, adding attributes like exaggerated video field scan line

932 Chapter 10 Using Filters HUD ControlsThe HUD contains the same controls as the Inspector, with the exception of the Mix control.Circle ScreenTh

Chapter 10 Using Filters 933 This filter causes rasterization in 3D groups.Parameters in the InspectorSize: Sets the size of the facets. The facet

934 Chapter 10 Using Filters Color EmbossThis filter traces high-contrast edges in the image with darker versions of the color already in the image

Chapter 10 Using Filters 935 This filter causes rasterization in 3D groups.Parameters in the InspectorSize: Sets the size of the facets. The facet

936 Chapter 10 Using Filters This filter causes rasterization in 3D groups.Parameters in the InspectorRadius: Sets the radius of transition betwee

Chapter 10 Using Filters 937 This filter causes rasterization in 3D groups.Parameters in the InspectorIntensity: Sets the intensity of the edges.

938 Chapter 10 Using Filters Parameters in the InspectorAngle: Sets the angle at which the object is extruded.Distance: Sets the distance the obj

Chapter 10 Using Filters 939 This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the position of the center of t

94 Chapter 1 Getting to Know Motion m Choose View > Zoom Time View > To Project.Note: An object must be selected in the Timeline layers list

940 Chapter 10 Using Filters Parameters in the InspectorCenter: Sets the position of the center of the hatched screen.Angle: Sets the angle of th

Chapter 10 Using Filters 941 IndentCreates a shiny, bump-mapped appearance on an image, giving the appearance of “depressed” and “flat” areas. This

942 Chapter 10 Using Filters  Height Map X Scale: Sets the scaling used to determine the width of the Height Map. Values range from 0 to 10. Hei

Chapter 10 Using Filters 943 Paper Color: Sets the color of the paper. The color picker can be expanded with the disclosure triangle to include Re

944 Chapter 10 Using Filters HUD ControlsThe HUD contains the Angle, Scale, Skew, Stretch, and Contrast controls.MinMaxThis filter softly patterns

Chapter 10 Using Filters 945 Noise DissolveDissolves an object by adding a pattern of noise to it. Raising the value of the Dissolve Amount paramet

946 Chapter 10 Using Filters This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the position of the center of t

Chapter 10 Using Filters 947 HUD ControlsThe HUD contains the Level control.ReliefUses the color values of an object or height map to calculate hei

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

Chapter 10 Using Filters 949 Mix: Sets the amount of the filtered frame to be mixed with the original source frame. Values range from 0 to 100%.HU

Chapter 1 Getting to Know Motion 95 3 In the Timeline section, choose an item from the Timebar Display pop-up menu:Â Name: Displays only the name

950 Chapter 10 Using Filters Texture ScreenThis filter uses a source object specified by the Map Image parameter to screen the target. The source o

Chapter 10 Using Filters 951 Noisiness: Sets the amount of noise. Values range from 0 to 20.HUD ControlsThe HUD contains the same controls as the

952 Chapter 10 Using Filters HUD ControlsThe HUD contains the same controls as the Inspector, with the exception of the Mix control.VignetteSimulat

Chapter 10 Using Filters 953 Wavy ScreenThis filter reduces an image to a high-contrast grayscale version of itself. It then screens it using a pat

954 Chapter 10 Using Filters This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the position of the center of t

Chapter 10 Using Filters 955 This filter causes rasterization in 3D groups.Parameters in the InspectorCenter: Sets the origin of the kaleidotile.W

956 Chapter 10 Using Filters Parameters in the InspectorHorizontal Offset: Sets the horizontal offset of the object.Vertical Offset: Sets the ver

Chapter 10 Using Filters 957 This filter causes rasterization in 3D groups.Parameters in the InspectorTop Left: Sets the position of the top-left

958 Chapter 10 Using Filters Parameters in the InspectorCenter: Sets the center point on the object from which the tiles are generated. Values are

Chapter 10 Using Filters 959 HUD ControlsThe HUD contains the Skew, Scale, Stretch, and Angle controls.Triangle TileTiles your object with triangul

96 Chapter 1 Getting to Know Motion m If the Timing pane is already visible, click the Keyframe Editor tab at the top of the pane.Keyframe Editor P

960 Chapter 10 Using Filters Parameters in the InspectorDelay: Sets the amount of delay between echoes. Values range from 0 to 1. A value of 0 is

Chapter 10 Using Filters 961 Parameters in the InspectorStrobe Rate: Sets the number of frames of each strobe. Values range from 1 to 60.Mix: Set

962 Chapter 10 Using Filters WideTimeSimilar to the Echo filter, but WideTime holds frames both before and after the current frame to stretch the i

Chapter 10 Using Filters 963 Parameters in the InspectorDominant Field: Selects the dominant field. Value can be Upper or Lower.Method: Sets how

11 96511 Working with GeneratorsUse the generators in the Motion Library to quickly add life to your project.About GeneratorsGenerators are objec

966 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 967 Note: Generators that are added to a project are not added to the Media tab. The Media tab only includes me

968 Chapter 11 Working with Generators CausticsThe Caustics generator creates an animated, simulated water surface. The size, speed, refraction, br

Chapter 11 Working with Generators 969 CellularThe Cellular generator creates an animated pattern that looks like cells moving under a microscope.

Chapter 1 Getting to Know Motion 97 When the selected object is not animated, nothing appears in the Keyframe Editor.Modified: This option display

970 Chapter 11 Working with Generators Color 1: Picks the first color in the checkerboard. Use the disclosure triangle to display Red, Green, Blue

Chapter 11 Working with Generators 971 First Layer Strength: Sets the strength of the first layer of clouds. Values range from 0 to 1.Second Layer

972 Chapter 11 Working with Generators GradientThe Gradient generator initially creates a nonanimated blue-and-red linear gradient. You can change

Chapter 11 Working with Generators 973 Parameters in the InspectorOffset: Sets the coordinates of the center of the grid. Coordinates are calculat

974 Chapter 11 Working with Generators Parameters in the InspectorCenter: Sets the position of the center of the lens flare.Size: Sets the radius

Chapter 11 Working with Generators 975 MembraneThe Membrane generator creates a sheer, animated sheet that appears to move gracefully about in 3D s

976 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 977 Parameters in the InspectorColor Space: Sets the color space. Generally, if you are working in NTSC, use YI

978 Chapter 11 Working with Generators Amplitude: Sets the amplitude of the waves.Roundness: Sets the shape of the wave.Op Art 2Parameters in the

Chapter 11 Working with Generators 979 Parameters in the InspectorLine Thickness: Sets the thickness of the lines in the pattern.Contrast: Sets h

98 Chapter 1 Getting to Know Motion Opacity: Displays only the Opacity parameters for the selected object. With the Keyframe Editor active, you ca

980 Chapter 11 Working with Generators StarThe Star generator creates a glowing star shape that contains an alpha channel. The scale, width, angle,

Chapter 11 Working with Generators 981 StripesThe Stripes generator creates a default image with vertical bands of two alternating colors. You can

982 Chapter 11 Working with Generators SwirlyThe Swirly generator creates an animated pattern in one of three different styles called Pulse, Spider

Chapter 11 Working with Generators 983 Two Color RayThe Two Color Ray generator creates a ray pattern alternating between two colors. You can selec

984 Chapter 11 Working with Generators The default Checkerboard generator appears in the Canvas, Layers tab, and in the Timeline, and the HUD appea

Chapter 11 Working with Generators 985 Color 1 is replaced with the new color.Note: You can save a color in the swatches along the bottom of the C

986 Chapter 11 Working with Generators 3 Click the Color 2 color well and select a new color.Color 2 is replaced with the new color.4 Drag the Size

Chapter 11 Working with Generators 987 Although the checkerboard pattern is not changing, adjusting the Contrast parameter creates the appearance o

988 Chapter 11 Working with Generators The animated generator parameters create a moving, changing texture.Saving Modified GeneratorsOnce you have

Chapter 11 Working with Generators 989 4 From the Layers tab, drag the modified generator to the Library stack. The modified generator is saved in

Chapter 1 Getting to Know Motion 99 Â Delete Keyframe: Deletes the current keyframe. The Delete Keyframe command is only available if the playhead

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

Chapter 11 Working with Generators 991 The Randomize parameter behavior is applied to the Spike Opacity parameter, and the Behaviors tab is automat

992 Chapter 11 Working with Generators Because the Randomize parameter behavior is applied to the opacity of the star spikes, the star appears to f

Chapter 11 Working with Generators 993 For more information on using Parameter behaviors, see “Parameter Behaviors” on page 430.Using Generators as

994 Chapter 11 Working with Generators The size of the gradient and its bounding box are scaled down.4 With the generator still selected, do one of

Chapter 11 Working with Generators 995 5 Play the project (press Space bar).Soft gradient particles are emitted.You can change the particle color,

12 99712 Using Shapes and MasksMotion has a flexible tool set that you can use to create simple shapes, complex illustrations, and paint effects

998 Chapter 12 Using Shapes and Masks Note: Using a stylus and graphics tablet is recommended when using the paint feature. While you can create p

Chapter 12 Using Shapes and Masks 999 Masks, on the other hand, are used to create regions of transparency in layers. While shapes work as objects