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
946 Appendix B Video and File Formats
Frame rates intended for broadcast video use can be interlaced, similar to standard
definition video on a television, or progressive like a computer display.
There are two options available for shooting high definition video:
• Sony’s HDCAM format supports 29.97i and 60i. Sony also has a 24p format.
• Panasonic’s high definition format, DVCPRO100. Don’t confuse this format with
DVCPRO25 and DVCPRO50, which are both standard definition formats. Panasonic
also has a 24p format that offers variable speed using a variable frame rate
technology.
Both of these acquisition formats have color sampling of 8 bits per channel. High
definition tape decks also exist with color sampling of 16 bits per channel, for film
scanning, mastering, and archival purposes.
Frame rate Video format
23.98 A progressive frame rate intended for HD video transfer to film.
23.98 is rounded up from the actual frame rate of 23.976. This frame
rate is useful in post-production since it can be converted easily by
hardware to the interlaced 59.94 frame rate for video viewing
purposes.
24 A progressive frame rate intended for HD video transfer to film
25 Matches the frame rate of PAL video, used for broadcast.
29.97 Matches the frame rate of NTSC video, used for broadcast. Some
manufacturers that refer to a frame rate of 30 fps are actually
referring to 29.97 fps.
50 Doubles the frame rate of PAL, a high-quality frame rate used for
broadcast.
59.94 Doubles the frame rate of 29.97 video. It’s easier for broadcast
equipment to downconvert from 59.94 to 29.97 for purposes of
standard definition broadcasting.
60 Doubles the 30 fps (actually 29.97) frame rate corresponding to
NTSC video; a higher quality frame rate used for high definition
broadcast.
Digital format Maker
Color
sampling
Compression
ratio
Compression
type
Recorded bit
rate
HDCAM Sony 3:1:1 7.1:1 DCT 17.5 MB/sec.
DVCPRO100 Panasonic 4:2:2 1.7:1 DCT 12.5 MB/sec.
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