2
Table Of Contents
- Motion User Manual
- Contents
- Motion 2 Documentation and Resources
- Getting To Know Motion
- Creating and Managing Projects
- Creating New Projects
- Managing Projects
- Editing Project Properties
- Browsing Media Files in Motion
- File Types Supported by Motion
- Adding Media to Your Project
- Managing Objects in Your Project
- Deleting Objects From a Project
- Exchanging Media in a Project
- Object Media Tab Parameters
- Using Media in the Library
- Organizing Layers and Objects in Motion
- The Background of Your Project
- Selecting Objects and Layers in the Layers Tab
- Reorganizing Objects in the Layers Tab
- Nesting Layers Inside Other Layers
- Grouping and Ungrouping Objects
- Showing and Hiding Layers and Objects
- Fixing the Size of a Layer
- Locking Layers and Objects
- Collapsing and Uncollapsing Layer Hierarchies
- Renaming Layers
- Searching for Layers and Objects
- Sorting Layers and Objects in the Media Tab
- Customizing and Creating New Templates
- Basic Compositing
- Using the Timeline
- Using Behaviors
- Keyframes and Curves
- Using Text
- Working With Particles
- The Anatomy of a Particle System
- Using Particle Systems
- Creating Graphics and Animations for Particle Systems
- Advanced Particle System Controls
- Animating Objects in Particle Systems
- Using Behaviors With Particle Systems
- Applying Filters to Particle Systems
- Particle System Examples
- Saving Custom Particle Effects to the Library
- Using the Replicator
- The Difference Between the Replicator and a Particle System
- The Anatomy of the Replicator
- Using the Replicator
- Advanced Replicator Controls
- Animating Replicator Parameters
- Using the Sequence Replicator Behavior
- Using Behaviors With Replicators
- Applying Filters to Replicators
- Saving Custom Replicators to the Library
- Using Filters
- About Filters
- Working With Filters
- An Introduction to Filters
- Working With Filters
- Enabling, Renaming, and Locking Filters
- Copying, Pasting, and Moving Filters
- Reordering Filters
- Changing Filter Timing
- Blur Filters
- A Fun Effect That Can Be Used With All the Blur Filters
- Border Filters
- Color Correction Filters
- Distortion Filters
- Glow Filters
- Keying Filters
- Matte Filters
- Sharpen Filters
- Stylize Filters
- Tiling Filters
- Working With Third-Party Filters
- Working With Generators
- Using Shapes and Masks
- Working With Audio
- Exporting Motion Projects
- Keyboard Shortcuts
- Video and File Formats
- Supported File Formats
- Standard Definition vs. High Definition Video Formats
- Popular Video Codecs for File Exchange
- What Is Field Order?
- Using Square or Nonsquare Pixels When Creating Graphics
- Differences in Color Between Computer and Video Graphics
- Using Fonts and Creating Line Art for Video
- Scaling Imported High-Resolution Graphics
- Creating Graphics for HD Projects
- Integration With Final Cut Pro
- Using Gestures
- Index
Chapter 1 Getting To Know Motion 117
Output
The Output Preferences pane tells Motion to render the contents of the Canvas out to a
video deck or monitor connected to your computer via FireWire or another port.
External Video
These settings control how Motion plays your project directly to a video deck or
monitor connected to your computer.
Video Output: Set this pop-up menu to match the type of device connected to the
monitor. When this is set to anything other than None, Motion outputs a new frame to
the externally connected video monitor every time you release the mouse button (if
the Canvas has changed). If no deck or video monitor is connected, the menu is set to
None. If you have two computer displays, one can be used to view the Motion interface
and the Finder while the other can be used as a dedicated video monitor using a
cinema display as an external monitor. The following external video monitoring choices
are available:
• Digital Cinema Desktop Preview: The video is not scaled unless it is too large to fit
on the display. If the video signal is larger than the display, it is scaled to fit on the
display.
• Pros: The video always maintains proper aspect ratio and does not exhibit scaling
artifacts due to magnification.
• Cons: Some formats, especially SD formats, may look very small when displayed on
large computer displays.
• Digital Cinema Desktop Preview – Full Screen: The video is scaled to fit the display
in at least one dimension. If the aspect ratio of the video signal and the computer
display do not match, the video on the display is letterboxed (black on top and
bottom) or pillarboxed (black on sides) as necessary.
• Pros: This format gives you the biggest picture possible and maintains the proper
aspect ratio.
• Cons: Scaling artifacts may be noticeable when viewed up close.
• Digital Cinema Desktop Preview – Raw: This mode shows the video data with as
little processing as possible. This can be useful for engineering evaluations of the
image. No scaling is done whatsoever.
• Pros: More accurate assessments of video quality can be made.
• Cons: Not useful for general viewing. No scaling or pixel aspect ratio adjustments
are made, even when the video is larger than the display.
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