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
854 Chapter 12 Using Shapes and Masks
You can create multiple masks for a single object. To add additional masks, select the
object again, then follow the above procedure. By default, all new masks are set to the
Add blend mode. You can change the Mask Blend Mode parameter in the Inspector to
combine masks for different effects. For more information about using multiple masks
together, see “
Combining Multiple Masks” on page 857.
Mask Parameters
A selected mask’s parameters appear in the Mask tab of the Inspector. These
parameters allow you to adjust how the mask is drawn, how each mask operates upon
an object, and how masks are combined with one another.
Shape Type: This pop-up menu lets you change the type of control points that are
used to define the mask. For example, if you originally created a Bezier mask, you can
choose B-Spline from this menu to change how the mask is drawn. You can change a
mask’s shape type at any time, but changing a mask from a Bezier shape to a B-Spline
shape might dramatically change its form.
• Linear: All of a mask’s control points are joined by hard angles, and the resulting
mask is a polygon. The control points of a Linear mask lie directly on its edge.
• Bezier: Control points can be a mix of Bezier curves and hard angles, creating any
sort of mask. The control points of a Bezier mask lie directly on its edge.
• B-Spline: Control points are all B-Spline points, with different degrees of curvature.
B-Spline control points lie outside the surface of the mask, but are connected by the
B-Spline frame.
Note: You can hide the B-Spline frame by turning off Lines in the View pop-up menu
above the Canvas.
Mask Blend Mode: Determines how a mask interacts with the alpha channel of the
object to which it’s applied. When an object has multiple masks, each mask can have a
different Mask Blend Mode. When this happens, each mask adds to, or subtracts from,
the object’s alpha channel according to the selected mode. The final alpha channel is
the combined result of all the masks that are applied. The four choices are:
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