Motion 5 User Manual
Copyright © 2012 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Motion software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. The Apple logo is a trademark of Apple Inc.
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Contents Preface 15 15 16 16 Welcome to Motion About Motion About the Motion Documentation Additional Resources Chapter 1 17 17 18 20 About Motion and Motion Graphics General Motion Graphics Tools Tools and Techniques Specific to the Motion Application About Motion Projects Chapter 2 23 24 25 26 32 41 46 53 55 80 81 95 118 121 The Motion Interface Project Browser Workspace Overview File Browser Library Inspector Toolbar Timing Display Canvas Viewing the Canvas or Timing Pane on a Second Display Pro
129 132 141 142 Color Controls Gradient Controls Generic Inspector Controls Rasterization Indicator Chapter 4 145 145 146 148 150 152 155 155 162 163 164 Motion Menus Application Menu File Menu Edit Menu Mark Menu Object Menu Favorites Menu View Menu Share Window Menu Help Menu Chapter 5 167 168 170 172 174 175 177 179 181 183 Preferences General Pane Appearance Pane Project Pane Time Pane Cache Pane Canvas Pane 3D Pane Presets Pane Gestures Pane Chapter 6 185 185 195 206 209 213 214 215 219 227 23
259 261 265 282 287 288 311 313 317 Group and Layer Order Transforming Layers 2D Transform Tools Adjusting Layer Properties in the Inspector Making Clone Layers Editing Opacity and Blending Parameters Drop Shadows Retiming Expose Commands Chapter 8 319 320 322 327 331 337 351 358 362 Using the Timeline About the Timeline Timeline Layers List Adding Objects to the Timeline Layers List Adding Layers to the Track Area Editing Objects in the Timeline Working in the Ruler Adding Markers Mini-Timeline Cha
497 Publishing Rigs Chapter 11 499 500 507 509 510 514 527 530 531 534 535 538 540 541 541 543 551 554 559 559 560 562 564 Creating Templates for Final Cut Pro X About Templates Creating an Effect for Final Cut Pro X Modifying a Final Cut Pro X Effect in Motion Example: Modifying the Bokeh Random Effect Advanced Example: Creating an SLR Effect Template Using Rigging Creating a Title for Final Cut Pro X Modifying a Final Cut Pro X Title in Motion Creating a Transition for Final Cut Pro X Modifying a Final
Chapter 13 637 637 638 659 664 Keying About Keying Using the Keyer Filter Using the Luma Keyer Filter Keying Refinement Filters Chapter 14 667 668 669 671 688 690 694 716 720 721 722 722 731 Working with Particles About Particle Systems Anatomy of a Particle System Using Particle Systems Creating Graphics and Animations for Particle Systems The Difference Between Emitter and Particle Cell Parameters Emitter and Cell Parameters Animating Objects in Particle Systems Viewing Animated Emitter Curves in
822 825 828 829 830 830 833 835 836 844 861 865 866 878 886 888 894 895 About Fonts Editing Text in the Inspector Editing Text Format Finding and Replacing Text Text Controls in the Format Pane Basic Formatting Controls Text Format-Related Tasks Editing Text Style Text Controls in the Style Pane Text Style-Related Tasks Using and Creating Preset Text Styles Editing Text Layout Text Controls in the Layout Pane Text Layout-Related Tasks Text Margin and Tab-Related Tasks Working with Text Glyphs Adding Behavi
990 1003 1006 1007 1008 1020 1023 1043 1068 1074 1076 1099 1106 1108 Adjusting Filters Keyframing Filter Parameters Applying Behaviors to Filter Parameters Publishing Filter Parameters and Onscreen Controls Blur Filters Border Filters Color Correction Filters Distortion Filters Glow Filters Sharpen Filters Stylize Filters Tiling Filters Time Filters Video Filters Chapter 20 1111 1112 1113 1114 1121 1147 1147 1148 1169 1170 1172 1173 1174 1174 1190 1192 1196 1212 1216 1219 1220 1224 1226 Using Shapes
1250 1254 1267 1274 1284 2D and 3D Group Intersection Cameras Lighting Shadows Reflections Chapter 22 1289 1290 1291 1292 1294 1294 1295 1298 1310 1312 1315 1316 1320 1321 1324 1341 Motion Tracking About Motion Tracking How a Tracker Works Motion Tracking Behaviors Shape Track Points Behavior Track Behavior General Motion Tracking Workflow Match Move Workflows Using a Non-Match Move Four-Point Track for Corner-Pinning Stabilize Workflow Unstabilize Workflow Track Points Workflow Track Parameter Workflow
1405 1406 1407 1408 1408 Exporting Frames Exporting for HTTP Live Streaming Exporting Using Compressor Background Rendering About Share Monitor Appendix A 1411 1411 1414 1415 1415 1418 1420 About Rasterization Groups and Rasterization Text and Rasterization Shapes and Rasterization Particles, Replicators, and Rasterization Filters and Rasterization Shadows and Rasterization Appendix B 1421 1421 1423 1425 1426 1428 1429 1429 1430 1430 Video and File Formats Supported File Formats Popular Video Cod
Appendix D 1451 1451 1451 1452 1453 1453 1453 1455 1456 1456 1457 1458 File Browser Inspector Keyframe Editor Layers Library Media List Timeline Editing and Navigating Keyframing Commands Shape and Mask Commands Toolbar 3D Commands Using the Command Editor 1465 1465 1467 1468 Using Gestures Configuring Gesture Setup Wacom Settings Using Gestures Contents 13
Preface Welcome to Motion Motion is a behavior-driven motion graphics application that allows you to create stunning imaging effects for a wide variety of broadcast, video, and film projects. This preface covers the following: • About Motion (p. 15) • About the Motion Documentation (p. 16) • Additional Resources (p. 16) About Motion Motion lets you create sophisticated moving images and other visual effects on the fly and in real time.
A powerful tool in Motion called rigging lets you map multiple parameters to a single control—for example, a slider that simultaneously manipulates size, color, and rotation of text. Rigs are useful in Motion-designed Final Cut Pro templates: In addition to simplifying the workflow in template modification, rigging can be used to limit changes, ensuring that junior compositors and others in the production pipeline adhere to established specs.
About Motion and Motion Graphics 1 Motion graphics are a type of visual effects work most commonly associated with title sequences and show openers, bumpers and interstitials, and interface design such as DVD menus. Motion graphics are also frequently used in technical settings for simulations of moving systems such as traffic patterns or scientific models.
Motion also supports audio files, and includes tools for basic audio mixing, enabling you to create a soundtrack for your project and make timing decisions based upon the interplay of audio and visual elements. You can animate images, filters, behaviors, and other elements to create elegant and precise compositions. Furthermore, you can retime your footage using optical-flow technology to create special effects such as stutter and flash frames.
Replicator Another tool unique to Motion, the replicator, creates customizable, kaleidoscopic patterns from copies of an image layer, yielding intricate, dazzling design effects that would take hours to build in other applications. Rigging A powerful new tool in Motion called rigging lets you manipulate multiple attributes in a composition with a single master control.
About Motion Projects In Motion, you create 2D or 3D motion graphics and compositing projects with imported images (such as Adobe Photoshop or Illustrator files), image sequences, QuickTime movies, and audio files, as well as with objects created in Motion. These objects include text, masks, shapes, particles, paint strokes, and so on. A Motion project is made up of groups that contain layers.
A project represents a single flow of image data built from the bottom up. In a composite with a single group, the layers in that group are stacked above one another. Filters and behaviors applied to a layer appear beneath the layer in the Layers list. The group represents the image that results from its combined layers and their applied behaviors, filters, and composite modes (blend modes). For more information on building projects, see Creating and Managing Projects.
The Motion Interface 2 This chapter introduces you to the Motion interface and describes how to use all the basic tools you need to get started. This chapter covers the following: • Project Browser (p. 24) • Workspace Overview (p. 25) • File Browser (p. 26) • Library (p. 32) • Inspector (p. 41) • Toolbar (p. 46) • Timing Display (p. 53) • Canvas (p. 55) • Viewing the Canvas or Timing Pane on a Second Display (p. 80) • Project Pane (p. 81) • Timing Pane (p. 95) • HUD (p.
Project Browser Unless you specify a default project in Motion Preferences, the Project Browser appears every time you open Motion or when you create a project. The Project Browser is the main portal to Motion projects: Use it to create new projects, to open recent projects or templates (including templates for Final Cut Pro X), or to create a project from a specific file. In the Project Browser, you can also search for projects based on assigned categories and themes.
Workspace Overview When you open a Motion project, its workspace fills your screen. The interface is a single project window with dedicated areas that can be shown or hidden. File Browser, Library, and Inspector Toolbar Canvas Project pane Timing pane The Motion workspace contains the following major components: • File Browser, Library, and Inspector: The left side of the Motion workspace contains three panes: the File Browser, Library, and Inspector.
• Canvas: The Canvas, located in the upper-right corner of the Motion workspace, is the main work area of the interface, where you can view and manipulate elements, as well as control playback of your project. The Canvas also contains the status bar and the project view options. For more information, see Canvas. • Project pane: The Project pane, located to the left of the Canvas, contains the Layers, Media, and Audio lists, which display items in your project.
File Browser Preview Area The top area of the File Browser contains a preview of the selected file. The preview area includes a visual preview and text information about the file: filename, media type, file size, and frame rate. If the file is a video or audio clip, the preview area also contains an audio mute button. Note: When displayed in the preview area, audio files contain a text description but no image preview. µ To play a preview of a file Select the file in the File Browser.
File Browser Sidebar Directly underneath the preview area is the sidebar, which contains a list of servers, drives, and folders available on your computer. Clicking a drive or folder in the sidebar displays its contents in the file stack below. Above the list of drive and folder icons in the sidebar are controls to navigate and sort the contents of the window. Forward/Back buttons Path pop-up menu Forward and Back buttons: Steps backward and forward through the folders most recently viewed.
To return to a previously viewed folder Do one of the following: µ µ µ µ Click the Back button beneath the preview area (to the left of the Path pop-up menu). Choose a folder from the Path pop-up menu beneath the preview area. Press Command–Up Arrow. Swipe left with three fingers on a Multi-Touch trackpad. Managing Files in the File Browser In the File Browser, you can rename, move, or delete files. You can also change how files are displayed.
Note: Changes you make to your file structure in the Motion File Browser are reflected in the Finder. µ To search for a file Click the Search button, then enter text in the Search field. The contents of the file stack are filtered to include only files whose names contain the entered text. Note: The Search field is not available unless the Search button is selected. µ To clear a file search Click the Clear button at the right side of the Search field.
µ µ µ To view the File Browser in list view Click the List View button in the lower-right corner of the File Browser. To change the size of the icons while in icon view Click the Icon Scale button in the lower-left corner of the File Browser, then drag the slider to the right to make the icons larger, or to the left to make them smaller. On a Multi-Touch trackpad, pinch open to make the icons larger or pinch closed to make the icons smaller.
The File Browser displays multiple items collapsed into a single object. 2 Drag the object from the File Browser to the Canvas, Layers list, Timeline, or Media list. Note: Images from digital cameras are often numbered sequentially but are not part of an animation sequence. You can turn off this option to import a single still image from a digital camera.
Library Preview Area The preview area contains a visual thumbnail showing the multiple frames of moving footage, as well as previews of filters, behaviors, generators, particle emitters, replicators, and so on. The preview area also contains text information for the library item, such as a description of the behavior, filter, or generator. The Library preview area is almost identical to the File Browser preview area, but instead of an Import button it contains an Apply button.
Library Sidebar Underneath the Library preview area is the sidebar, which contains a list of folders of effect types and content available in Motion. Clicking a folder in the sidebar displays its contents in the file stack below. Above the Library categories in the sidebar are several controls to navigate and sort the contents of the window. Theme pop-up menu Forward/Back buttons Path pop-up menu Forward and Back buttons: Steps backward and forward through the folders most recently viewed.
µ Swipe left with three fingers on a Multi-Touch trackpad. Library Content The Library contains all effects, presets, fonts, and other content available in Motion. These items are grouped into categories listed in the left sidebar. Choose any of these items to display a list of subcategories in the right sidebar. The Library also contains two additional categories—Music and Photos—that provide quick access to your iTunes and iPhoto libraries.
• Shape Styles: Contains a collection of preset shape styles that can be applied to shapes. For more information, see Using Shapes, Masks, and Paint Strokes. • Music: Allows you to browse for and import audio files from your iTunes library. The Music subcategories include the library and playlists created in iTunes. The contents of each playlist appear in the file stack. When displayed in list view, the Music category shows the Name, Artist, Album, Duration, and Size information created in iTunes.
For more information on organizing custom folders and content, see Adding Content to the Library. To rename a folder or file Do one of the following: µ In the Library stack, Control-click the custom file or folder, then choose Rename from the shortcut menu. When the text field becomes active, enter a name, then press Return. µ Click the name of the folder or file once to select it, then click it again to activate the text field. Enter a name, then press Return.
µ µ To change the size of the icons while in icon view Click the Icon Scale button in the lower-left corner of the Library, then drag the slider to the right to make the icons larger, or to the left to make them smaller. On a Multi-Touch trackpad, pinch open to make the icons larger or pinch closed to make the icons smaller.
• Layers or groups Note: You cannot assign a theme to behaviors, filters, fonts, images, image sequences, or movies. To sort using the Theme pop-up menu Do one of the following: µ Select a category in the Library sidebar or stack, then choose a theme from the Theme pop-up menu. µ To sort using the default themes, select the Content category, then choose an item from the Theme pop-up menu. To remove a custom theme 1 Choose the theme to remove from the Theme pop-up menu.
You can also drag an effect or element from the Library to a layer or group in the Layers list, Canvas, or Timeline. For more information about placing and reordering objects in a project, see Organizing Groups and Layers in Motion. Saving and Sharing Custom Library Elements You can save nearly any object in Motion to the Library, including animated cameras and lights, customized behaviors, filters, particle systems or replicators, shapes and text, as well as layers and groups.
“All in one file” saves all the objects together, listing them as one item in the Library. “Multiple files” saves the objects as individual objects in the Library. 4 To name the files, do one of the following: • Control-click the icon in the Library stack, choose Rename from the shortcut menu, then enter a name. • Select the icon, click “Untitled,” then enter name. You can enter custom notes about a saved item in the Library.
Some groups of parameters appear in a group that can be shown or hidden. There are two ways to show or hide the controls. To show or hide a group of controls using the Show/Hide button 1 Position the cursor at the right end of the row that contains the group name (to the left of the Reset button). 2 Click Show to display the parameters or Hide to conceal the parameters. Click to show or hide a group of controls.
Inspector Preview Area The preview area contains a visual preview of the object and can show the multiple frames of moving footage. The Inspector preview area is similar to the File Browser and Library preview areas, but it has no Apply or Import button.
Object This pane, also referred to as the Object Inspector, contains controls that vary depending on the type of object selected. The name of the pane is also context-sensitive, changing depending on the type object selected. The different Object Inspectors are described below: • Object: Appears when there is no selected object. There are no parameters in the Object pane. • Image: Appears when an image, image sequence, movie, or drop zone is selected.
• Rig: Appears when a rig is selected and contains buttons that allow you to choose widget types to map multiple parameters to a single control. For more information on rigging, see Using Rigs. • Media: Appears when an item is selected in the Media list of the Project pane. (For more information see Project Pane.) These parameters deal mostly with attributes of the file on disk or how the file is interpreted by Motion.
• Stroke: Contains controls for modifying paint strokes. Use these controls to set stroke color and brush scale, and to adjust opacity, spacing, width, and other parameters. • Advanced: Contains controls that allow the dabs of a paint stroke to be animated like particles. • Geometry: Contains controls that allow you to change the shape type, to close or open a shape, to smooth a shape, and to adjust the position of a shape’s control points using value sliders.
Tool Groups Tools that have multiple modes or options are available in pop-up menus in the toolbar. For instance, a shape tools pop-up menu contains the Rectangle, Circle, and Line tools. Pop-up tool menus have a tiny downward arrow in the lower-right corner of the visible tool. Arrow indicates hidden tool states. The left side of the toolbar contains tools grouped into categories of use. The three tools on the far left let you modify the view and manipulation method in the Canvas.
Note: After you select an object in the Canvas and select a tool, you can switch between tools by pressing Tab. Tabbing cycles the tools from the Select/Transform tool (the default) to the 3D Transform tool, to the remaining 2D transform tools (Anchor Point tool, Drop Shadow tool, and so on). Press Shift-Tab to cycle through the tools in the reverse order. 2D Transform Tools Choose a 2D transform tool from the pop-up menu at the far-left side of the toolbar to adjust and manipulate objects in the Canvas.
Icon Name Adjust Item tool Keyboard shortcut S (Press Tab to cycle through tools.) Description Modifies parameters such as the amount or angle of a Directional Blur, the shape of a particle emitter, or the start and end points of a gradient. Becomes available when a specific objects are selected. 3D Transform Tool Select the 3D tool to adjust and manipulate objects in the Canvas in 3D space.
Icon Name Keyboard shortcut Circle tool C Creates a circle shape (click and drag in the Canvas). Pressing Shift while you drag constrains the shape to a circle. Line tool None Creates a new line shape (by dragging in the Canvas). Pressing the Shift key while you drag constrains the line to specific angles. Description Path Shape Tools Choose a path shape tool from the pop-up menu to create Bezier or B-Spline shapes.
Mask Tools Choose a mask tool from the pop-up menu to hide portions of a selected layer. Mask tools can only be accessed when a layer (a visible object in the Canvas, such as an image, replicator, or flattened text) or 2D group is selected. By default, the area inside the mask remains visible. For more information about masks, see Using Shapes, Masks, and Paint Strokes. Icon Keyboard shortcut Name Description Rectangle Mask tool Option-R Creates a rectangular mask (by dragging in the Canvas).
Icon Name Description New Camera Adds a camera to the project. When you add a camera to a 2D project, a dialog appears asking if you want to convert 2D groups to 3D groups. Although a camera can be added to a 2D project, the camera has no effect on a 2D group. New Light Adds a light to the project. When you add a light to a 2D project, a dialog appears asking if you want to convert 2D groups to 3D groups. Although a light can be added to a 2D project, the light has no effect on a 2D group.
Timing Display The timing display, located in the center of the toolbar, allows you to view the current frame (or timecode number) of the playhead, or the total duration of the project. You can also use the timing display to navigate to a specific frame, move frames in small or large increments, and scrub frames. Additionally, you can modify the duration of the project. To switch between the current time (timecode or frame number) and the project duration Do one of the following: µ Click the clock icon.
µ µ µ To modify the current time dynamically With the timing display pop-up menu set to Show Current Time, drag over the numbers in the display, up to move the playhead forward or down to move it backward. To move the playhead to a specific time With the timing display pop-up menu set to Show Current Time, double-click the number display, type the desired timecode or frame number, then press Return to confirm your entry.
µ To move forward a specific number of frames Enter a plus sign (+) followed by the number of frames to move forward. µ To move backward a specific number of frames Enter a minus sign (–) followed by the number of frames to move backward. Counting Time Motion offers two ways of looking at the frame numbers for your project. You can view the time as incremental frames, starting at 1 or 0 and continuing indefinitely.
The mini-Timeline is above the transport controls and below the main body of the Canvas window. This control provides a view of where selected layers in the Canvas begin and end in time, allowing you to manipulate the timing of those objects. Mini-Timeline Transport controls What you see in the Canvas is what will be output when you share a project. However, this window is not only a place to view the results of your work; the Canvas is where you modify and arrange the elements of your project.
Status Bar The status bar at the top-left side of the Canvas provides information about the current project: dynamic tool information, color, coordinates, and frame rate. Status Bar The display of this information is controlled in the Status Bar section of the Appearance pane in Motion Preferences (type Command-Comma to open Motion Preferences). Dynamic Tool Information When you adjust an object in the Canvas using onscreen controls, the status bar displays transform information.
Coordinate Information For precision placement of objects in the Canvas, it can be helpful to know the exact pixel position of the pointer. The status bar can display this information in an X and Y coordinate system (Cartesian). The center point of the Canvas is 0, 0. µ To display the current pointer position in the status bar In the Appearance pane of Motion Preferences, select the Coordinates checkbox. When you move the pointer in the Canvas, the coordinate information updates in the status bar.
Channels pop-up menu (unlabeled): The Channels pop-up menu (the color spectrum icon) controls which color channels are displayed in the Canvas. Use this menu to view a single color channel in the Canvas, to examine layers’ alpha channels, or to manipulate effects that affect only a single color channel. This menu has the following options: • Color: Shows the image as it would appear on a video monitor.
The Render pop-up menu displays the following options: • Dynamic: Reduces the quality of the image displayed in the Canvas during playback or scrubbing in the Timeline or mini-Timeline, allowing for faster feedback. Also reduces the quality of an image as it is modified in the Canvas. When playback or scrubbing is stopped, or the modification is completed in the Canvas, the image quality is restored (based on the Quality and Resolution settings for the project).
Note: When creating an effect, title, transition, or generator template for use in Final Cut Pro, the Field Rendering setting in the View pop-up menu does not control whether field rendering is applied in Final Cut Pro. Rather, field rendering is controlled in the Properties Inspector for the project. (Press Command-J to open the Properties Inspector.
• Film Zone: Turns display of film aspect ratio guides on and off. This can be helpful if you are creating a project for videotape to be transferred to film. You can change the size of the guides as well as their color in the Canvas pane (Zones) of Motion Preferences. Note: You can also press Shift-Quotation Mark (”). • Handles: Turns display of object handles in the Canvas on and off. Some onscreen transformations, such as resizing, require visible object handles. Handles appear only on selected objects.
Holding the pointer over the 3D Compass exposes color-coded shortcuts to the reference camera views. Click any colored view icon, such as Front, Left, Right, Perspective, and so on to switch to a different camera view. The Canvas animates as it changes view. For more information on working with the 3D Compass and different views, see Views. 3D Compass 3D Compass showing camera shortcuts • Inset View: Turns the Inset view in the Canvas on and off.
Note: Because project elements are 2D (flat) objects, the elements are not visible when you use orthogonal camera views (Left, Right, Top, and Bottom) unless the elements are rotated in 3D space (or unless text, particles, or the replicator is using the Face Camera parameter in its Inspector). This is because orthogonal views are at right angles (perpendicular) to the elements. When an object is selected, a thin gray line represents the object in the Canvas.
• 3D Scene Icons: Turns the display of cameras and lights in the Canvas on or off. Scene icons appear in the Canvas as wireframe icons. Lights appear with red (X), green (Y), and blue (Z) adjust 3D handles that let you transform and rotate them. The handles are still displayed when the 3D Scene Icons command is turned off. For more information on the 3D scene icons, see 3D Scene Icons.
• Show Full View Area: When enabled, this setting lets you see the portion of a layer that extends beyond the edge of the Canvas. This setting is disabled by default, because it slows your project’s interactivity. • Use Drop Zones: Turns drop zones on and off. When turned on, a checkmark appears next to the menu item, and drop zones accept objects dragged to them. When turned off, drop zones ignore objects dropped onto them. For more information on using drop zones, see Drop Zones.
• Four-up, large window right: Displays four windows, three stacked on the left side and one larger window on the right side. • Four-up: Displays four windows, all the same size. Advanced Quality Settings When you choose Custom in the Quality section of the Render pop-up menu (or in the View > Quality menu), the Advanced Quality Options dialog appears. The Advanced Quality Options dialog provides additional controls to fine-tune rendering performance and quality.
Antialias 3D intersections: Renders objects intersecting in 3D space at a higher resolution, then scales objects back to regular resolution to ensure smooth edges. Canvas Zoom Level You can zoom in on the Canvas to allow precision alignment and placement of objects, and you can zoom out to get a sense of the big picture or to see the path of a moving object. You can also use dynamic zoom modes to zoom in or out of the Canvas, or to zoom to specific areas of the Canvas.
µ To zoom in and out of a specific area of the Canvas Holding down the Space bar and Command key (in that order), drag the area of the Canvas to zoom. While still holding down the keys, click the mouse button to zoom in 50 percent increments of the current zoom level. Holding down the Space bar, Command key, and Option key (in that order), the Canvas click to zoom out in 50 percent increments of the current zoom level.
Note: Guides must be enabled in the View pop-up menu (or by pressing Command-Semicolon) to display the guides. The ruler units are in pixels, with the 0, 0 point in the center of the Canvas. 2 When the guide is in the location you want, release the mouse button. To simultaneously add a horizontal and vertical guide to the Canvas 1 Drag from the corner where the rulers meet into the Canvas. 2 When the guides are in the location you want, release the mouse button.
Canvas in 3D Mode In addition to the traditional 2D project workspace, Motion provides a 3D workspace in which to arrange and animate objects, including groups, layers, cameras, and lights. When you switch to 3D mode, additional controls become available in the Canvas. A small set of 3D View tools appears in the upper-right corner of the Canvas window, and a 3D Compass appears in the lower-left corner.
µ To set the current view Click the Camera menu in the upper-left corner of the Canvas and choose a camera from the list. Motion animates the view change as it moves to the view. Camera menu If you modified the view, an asterisk appears next to the name of the camera view. For more information, see 3D View Tools. Note: If you isolate a layer or group (by choosing Object > Isolate), the Camera menu shows the name of the isolated object as the current view.
µ In the Properties Inspector for the camera, click the Transform parameters reset button. Reset button Manipulating Objects in 3D Space The 3D workspace provides tools for manipulating objects in 3D space. These tools include 3D onscreen controls that manipulate the object, 3D transform controls in the HUD, and parameters in the Properties Inspector for the object. To transform an object in 3D space 1 Select the object to transform and select the 3D Transform tool in the toolbar.
2 Position the pointer over a rotation handle on either side or above the colored arrows. • The red ring indicates rotation around the X axis. • The green ring indicates rotation around the Y axis. • The blue ring indicates rotation around the Z axis. 3 When the 3D rotation handle is active, drag left or right in the Canvas to rotate the object around the selected axis. 3D rotation handles help you find the right axis. As you rotate, a small info window displays the changed values.
µ µ µ To add an object to the mini-Timeline Drag the item from the File Browser or Library to the mini-Timeline, releasing the mouse button when the tooltip indicates the frame you want. To move an object in time Select the object to move, drag the object bar in the mini-Timeline to the left or right to reposition it in time, then release the mouse button when you reach the position you want.
The group of buttons centered at the bottom of the Canvas are transport controls. Use these button to play your project and see how it looks over time. Go to start of project Go to end of project Play from start Record Play/Pause Go to next frame Go to previous frame Go to start of project: Returns the playhead to the beginning of the project. The keyboard shortcut is Home. Go to end of project: Moves the playhead to the end of the project. The keyboard shortcut is End.
Loop playback: Controls whether playback loops indefinitely, or whether playback stops when the end of the play range is reached. The keyboard shortcut is Shift-L. For more information on setting a project play range, see Defining the Play Range. Player Mode When you click the Player Mode button below the Canvas, the Canvas expands to fill the Motion workspace. This is helpful for watching project playback without the distraction of the software interface.
You can render parts of your project and store the frames in RAM. This lets you play back your project and see it play at full frame rate. This is called RAM Preview. You can render the play range, a selection, or the entire project. As the frames are rendered, a progress dialog appears and shows which frame is being rendered, how many more frames remain, and an approximation of the time remaining. You can interrupt RAM Preview by clicking the Stop button.
RAM Previewing Regions Previewing large sections of your project using RAM Preview requires large quantities of RAM to store frames. You may not have enough RAM to store all frames you want to preview. You can restrict which frames are rendered by choosing to preview the play range or a selection. Using RAM Preview on a selection renders all visible layers in the project from the first frame of the selection until the last. For more information on setting a project play range, see Defining the Play Range.
µ To use the Canvas shortcut menu Control-click an empty area of the Canvas (in the gray area outside the project) and choose an option from the shortcut menu: • New Group: Adds a group to the project above existing groups in the Layers list. • Import: Opens the Import Files dialog, which allows you to import files from the Finder. • Paste: Pastes any item copied to the Clipboard into the selected group in the project.
Project Pane The Project pane, located between the File Browser, Library, or Inspector and the Canvas, contains three lists, each of which provides access to a different aspect of your project: • Layers list: Displays the hierarchy of objects (groups, layers, cameras, lights, behaviors, filters, and so on) in your project. • Media list: Shows the files imported into your project. • Audio list: Provides access to, and control of, audio files in your project.
µ Choose Window > Hide Timing Pane (or press F6). The Timing pane is hidden and the Project pane is lengthened. Layers List The Layers list of the Project pane displays an overview of all image layers, effects, and masks used in a project. The top row of the Layer’s list contains the Project object that, when selected, gives you access to the project’s global settings (in the Project Inspector).
The Layers list opens in a column view. Layers List Controls The Layers list contains the following controls: 2D/3D icon (set to 3D) Lock button Isolate button Link icon Activation checkbox Activation checkbox: Turns the visibility of the object (or its effect) on or off. When the object’s visibility is off, you can still modify the object’s parameters and manipulate its onscreen controls. Preview: Contains a thumbnail of the object.
Mask icon: Appears when a mask is applied to the layer or group. To turn off the effect of the mask, click the icon. A red slash appears through a disabled mask’s icon. Behavior icon: Appears when a behavior is applied to the layer or group. To turn off the effect of the behavior, click the icon. A red slash appears through a disabled behavior’s icon. Behaviors Disabled filter Filters Masks Filter icon: Appears when a filter is applied to the layer or group.
To adjust row height Do one of the following: µ Position the pointer over a horizontal line and drag up or down to decrease or increase the height of all rows. Icons and thumbnails resize themselves as you make the adjustment. µ Click the Scale button at the bottom of the Layers list (to the right of the Add and Search buttons), then drag the slider. Drag left to decrease the height of the rows and drag right to increase their height.
µ To filter the Layers list Click the Search button, then enter the name of the objects to view in the Search field. When you begin typing in the Search field, the Layers list hides objects that do not contain the text you type. Hidden objects continue to appear in the Canvas. µ To stop filtering and return to the complete list Click the Clear button at the right of the Search field. The Search field is cleared and the Layers list returns to the unfiltered view.
Additional Options in the Layers List The Layers list shortcut menu gives you access to additional commands to help organize and manipulate layers. Control-click a layer in the Layers list, then choose a command from the shortcut menu. The command is applied to the layer you Control-clicked. The menu contains the following commands: • Cut: Removes the layer and places it on the Clipboard. • Copy: Copies the layer to the Clipboard. • Paste: Places the contents of the Clipboard in the current location.
When no items are selected in the Layers list, the shortcut menu provides this set of commands: • New Group: Adds a group to the project above existing groups in the Layers list. • Import: Opens the Import Files dialog, which allows you to import files from the Finder. • Paste: Pastes any item copied to the Clipboard into the selected group in the project.
µ To show or hide a column Control-click a column header, then choose the item to show or hide from the pop-up menu. Items in the list with a checkmark are displayed in the Media list. Items with no checkmark are hidden. µ To reorder columns Drag the column left or right to a new position. µ To adjust column width In the header row, drag a column border to resize the width. Adding and Removing Media In the Media list you can add files to the project, or remove them.
Important: Files added to the Media list are not added to the Canvas. To add a file to the Canvas, drag the file from the Media list to the Canvas. To remove a file from the Media list Do one of the following: µ µ Control-click the file, then choose Delete or Cut from the shortcut menu. Select a file to remove, then choose Edit > Cut (or press Delete). The media is removed. If the media is used in the Canvas, an alert appears asking you to confirm that you want to remove the files from the project.
• Paste: Pastes media files in the Clipboard into the Media list, but does not place the media into the project. • Project Properties: Opens the Properties Inspector for the project, where you can set basic project information such as project width and height, pixel aspect ratio, background color, and much more. For more information on the Properties Inspector, see Creating a Blank Motion Project. Sorting Columns in the Media List Use the following procedures to sort items in the Media list.
Audio List The Audio list displays all audio files and files containing audio (such as a multitrack QuickTime movie) in your project. You can modify the levels of individual files or you can modify the overall audio level of the project. For more information on working with audio in Motion, see Working with Audio. To display the Audio list Do one of the following: µ µ If the Project pane is visible, click Audio at the top of the pane. Choose Window > Audio (or press Command-6).
Pan slider: Displays the left-right balance of the sound. Modify the Pan parameter by dragging the dial, by dragging in the value slider, or by entering a numerical value in the field. Negative numbers move panning to the left, positive numbers move panning to the right. Mute button: Mutes all sound from a selected file. When the icon is inactive, audio from the file plays back based on the level value. Mute Solo Solo button: Mutes all but the selected audio track.
The file is removed. This action removes the file from the project (from the Audio and Media lists). Filtering the Audio List As a project becomes more complex, you might want to hide audio files from view to focus on a few key tracks. You can filter the Audio list using the Search button in the lower-left corner of the list. For instructions on how to filter your view, see Filtering the Layers List View.
Audio Master Track Each project has a Master audio track. The controls for the Master track are located at the bottom of the Audio list, below the audio tracks. Using the Master track’s controls, you can make changes that affect the final mixed output of all audio tracks. For example, you can lower the volume of all tracks simultaneously or pan all tracks to the left or right.
The Timing pane lets you view and modify the time component of a project’s contents. Objects, keyframes, and audio tracks are shown in a time graph and can be adjusted to coordinate timing of sequence events such as visual effects and audio-video sync. To display the Timing pane Do one of the following: 96 µ µ Choose Window > Show Timing Pane (or press F6). µ Choose Window > Video Timeline (Command-7), Keyframe Editor (Command-9), or Audio Timeline (Command-8).
To resize the Timing pane Do one of the following: µ After the Timing pane appears, drag the tool bar that contains the timing display (above the Timing pane) up to heighten the Timing pane or down to lower the pane. µ Drag the boundary (the gray line) between the File Browser, Library, or Inspector and the Timing pane list to the left or right to widen or narrow the pane. µ Deselect the “i” button in the lower-left corner of the Motion Project window to widen the Timing pane.
Timeline Layers List The left side of the Timeline is the Timeline layers list. Like the Layers list in the Project pane, objects appear in the project hierarchy categorized into layers and groups. The Timeline layers list contains many of the controls as the Layers list in the Project pane: Activation checkbox: Turns the visibility of an object on and off. When the object visibility is off, you can still modify the object’s parameters and manipulate its onscreen controls.
Link icon: Appears when the layer has a corresponding audio element, such as a multichannel QuickTime file. To unlink the video and audio (to edit them separately), click the link icon. When unlinked, a red slash appears through the icon. 2D/3D icon: Switches a group between 2D or 3D mode. The same icon appears at the left of the group name and indicates the 2D/3D status of the group. Layers cannot be 2D or 3D—they are always 2D elements in a 2D or 3D group.
Timeline Track Area The main part of the Timeline, to the right of the Timeline layers list, is called the track area. Each objects in a project is represented by a colored bar (known as a timebar). Different colors represent different types of objects. For example, behaviors and filters are purple and masks are gray. For a complete table of colors, see Timeline Tracks.
The playhead tracks the frame visible in the Canvas. You can drag the playhead or reposition it using the transport controls described in Canvas Buttons and Transport Controls. The playhead in the Timeline and the playhead in the mini-Timeline are linked. Moving one moves the other. The play range indicators limit the area of the project to be played. For more information on setting and using the play range, see Defining the Play Range.
Moving Objects in the Timeline When you want an object to begin and end at a different point in the project, you can move it in the Timeline. For more information about moving, trimming, slipping, or retiming objects, see Editing Objects in the Timeline. µ To move an object In the track area, click a timebar and drag left or right to move it in time. As you drag, a tooltip identifies the new In and Out points of the clip. A delta symbol (triangle) indicates the number of frames you are moving.
A red slash appears over the icon and the effect is temporarily turned off. µ To turn behaviors off for a layer or group Click the behavior icon (the gear) in the Timeline layers list. A red slash appears over the icon and the effect is temporarily turned off. µ To turn filters off for a layer or group Click the filter icon in the Timeline layers list. A red slash appears over the icon and the effect is temporarily turned off. For all these controls, clicking the icon again turns the effect back on.
µ To turn on or off the display of keyframes in the Timeline Click the Show/Hide Keyframes button in the upper-right corner of the Timeline track area. Resizing the Timeline You can adjust the height of the tracks in the Timeline to provide more or less vertical space. You can also change the width of the Timeline track area.
Collapsing and Expanding Groups and Layers You can collapse a group or layer so tracks for objects in the group are temporarily hidden. Group expanded Group collapsed µ To collapse or expand a group or layer Click the disclosure triangle to the left of the group or layer name in the Timeline layers list. Disclosure triangle Several editing tasks can be done in the Timeline, including moving, trimming, and slipping.
To zoom the Timeline using the zoom/scroll control Do one of the following: µ Click the handle of the control and drag it away from the center to zoom out and toward the center to zoom in. The Timeline updates as you drag. µ Drag the control left to zoom right or right to zoom left. µ To zoom the Timeline using the zoom slider Drag the slider to the left to zoom out and to the right to zoom in. µ To zoom the Timeline using a Multi-Touch device Pinch open to zoom in, pinch closed to zoom out.
Changing the Track Display The tracks in Motion can be displayed in a variety of ways for different working styles. You can set your tracks to be viewed as Name, Name Plus Thumbnail, and Filmstrip. Name Name Plus Thumbnail (default) Filmstrip To change the Timeline track display 1 Choose Motion > Preferences (or press Command-Comma) to open Motion Preferences, then click Appearance.
Audio Timeline The Audio Timeline provides a view of audio elements over time. The audio tracks appear as green bars with the audio waveform on top of the bar, and can be edited like other objects in the Timeline. The Audio Timeline uses the same ruler, buttons, and other controls as the Timeline. For more information on the Timeline interface, see Timeline. The green bar in the mini-Timeline also shows the duration of the audio file.
To change the audio track’s start time Do one of the following: µ µ µ µ Drag the audio track to the left or right to change the track’s start time. Drag either end of the audio track. Set an In time in the Timing controls of the audio track’s Properties Inspector. Move the playhead to the frame you want, then choose Mark > Move Selected In Point. To change the audio track’s end time Do one of the following: µ µ µ µ µ Drag the audio track to the right to advance the audio, or drag to the left to rewind.
Zooming in the Audio Timeline The Audio Timeline shares the Timeline’s zooming controls. For more information, see Zooming in the Timeline. Keyframe Editor The Keyframe Editor is where you can view and modify the attributes of filters, behaviors, and other effects over time. Each parameter can be displayed as a curve showing how the parameter’s value changes over time. You can manipulate the points in that curve (called keyframes) to create a variety of powerful effects.
Keyframe Basics You animate an object by creating at least two keyframes for a parameter, such as Opacity, at different points in a project. A keyframe is a point that records a change in the value of a parameter. For example, to create an animation in which an object is transparent at frame 1 and becomes opaque at frame 120, you create two keyframes: an Opacity keyframe set to a value of 0% at frame 1 and an Opacity keyframe set to a value of 100% at frame 120.
To animate an object across the screen by setting an initial keyframe 1 In the Canvas, position the object to your desired starting location. 2 To create an initial Position keyframe, do one of the following: • Press Control-K. Note: Pressing Control-K adds a keyframe to the last-modified parameter of the object. • In the Properties Inspector, open the Position parameter’s Animation menu (the downward arrow on the right), then choose Add Keyframe.
When the selected object is not animated, nothing appears in the Keyframe Editor. • Modified: Displays only curves that are modified for the selected object. This includes modifications that are not animated. For example, if you change the color of a shape (without animating the color change), the parameter appears in the Modified list because the color was changed from the default color. Animated parameters also appear in the list. • Active: Shows only parameters being modified.
Keyframe edit tools: There are three tools for editing keyframes and curves in the Keyframe Editor. These tools are located above the parameter list. For more information about using these tools, see Modifying Keyframes. Sketch Transform Edit • Edit Keyframes tool: Use to select and edit keyframes. • Sketch Keyframes tool: Use to draw curves with keyframes. A parameter must be active (its checkbox enabled) and selected in the list before you can sketch a curve.
• Add Keyframe: Adds a keyframe at the current frame. If the playhead is positioned on a frame where a keyframe has been added, this menu item is unavailable. A keyframe is automatically added to the last modified parameter of the object (regardless of the status of the Record button) at the current playhead position. • Delete Keyframe: Deletes the current keyframe. The Delete Keyframe command is only available if the playhead is positioned on a frame where a keyframe exists.
Choose Background Audio Waveform: Displays a list of available audio tracks in the project. When a track (or the Master track) is chosen, its waveform appears behind the animation curves. Use this view to sync animation with audio. Clear Curve List: Empties the parameters list. This control is active for custom curve sets. Fit Visible Curves in Window: Scales the graph vertically and horizontally (in time) to show keyframes of active parameters.
Keyframe Graph The keyframe graph, located to the right of the parameter list, displays all curves and keyframes for selected parameters. Parameters are represented by different colors. Keyframes appear as diamonds, and curves appear as solid lines. Areas before the first keyframe and after the last keyframe are represented by dotted lines. Selected parameters and keyframes appear white. You can manipulate keyframes by dragging them in the graph.
To zoom the Keyframe Editor using the zoom/scroll control Do one of the following: µ Drag the handle of the control away from the center to zoom out and toward the center to zoom in. µ Drag the control left to zoom right or right to zoom left. The Keyframe Editor updates as you drag. µ To zoom the Keyframe Editor using the zoom slider Drag the slider to the left to zoom out and to the right to zoom in.
The HUD also contains controls for some effects, including Basic Motion behaviors and particle systems. For example, the 2D Particle Emitter HUD contains a single control that provides a visual way to manipulate three particle system parameters: Emission Range, Emission Angle, and Speed. These unique controls allow you to set multiple parameters simultaneously and in an intuitive way. You can read more about specific HUD controls in their namesake chapters.
When multiple effects are applied to an object, you can cycle through the effects’ HUDs. A small downward-facing arrow next to the HUD name indicates additional effects are applied to the selected object. The arrow indicates multiple control sets for the selected object. Click the arrow to display a pop-up menu that lists all possible HUDs that can be displayed for the selected object.
Most of the time, the HUD displays a subset of the parameters visible in the Inspector for the selected object. If you are working in the HUD, you can jump to the Inspector to access the remainder of the controls for that object. µ To jump to the Inspector from the HUD Click the Inspector icon (the “i”) in the upper-right corner of the HUD. The Inspector corresponding to the HUD appears. Text Field Shortcut Menu Any text field in Motion has a shortcut menu that allows you to edit the text in that field.
User Interface Controls 3 In Motion, you build and modify a composition by adjusting parameters—numeric attributes that define each characteristic of the objects, clips, and effects comprising a project. Although there are thousands of parameters in Motion, you can adjust most of them using a small set of intuitive user interface controls. This chapter describes each of those parameter controls—buttons, sliders, pop-menus, and other interface tools.
• Add cameras, lights, or generators • Apply filters and behaviors • Create particle systems and replicators Toolbar controls with multiple modes or options are available as pop-up menus, identifiable by a small downward arrow in the lower-right corner. For example, the default Rectangle Mask tool can be set to Rectangle, Circle, Freehand, Bezier, or B-Spline mode.
Value Sliders Although basic sliders are fixed-range controls, some parameters can be set to values outside of a limited range. For those parameters, a second type of slider control is often available, known as a value slider. A value slider appears as light gray number, often to the right of a basic slider. For example, the Amount parameter in the Gaussian Blur filter has a basic slider with a default range of 0 to 64; however, you can adjust this parameter up to 600 using the adjacent value slider.
The most common example of this type of control is the Position parameter, which places the center point for an object at a given position in the Canvas. But coordinate controls are used for a parameter that defines a position in the Canvas—the center of a lens flare or the origin of a particle system, for example. Additionally, most coordinate parameters can be set by moving an object or onscreen control in the Canvas.
Value Field This control allows direct entry of text to set the value of the parameter. An example of a parameter that uses a value field is the text-entry field. Motion also uses numeric value fields. Activation Checkbox A parameter that must be on or off uses a checkbox control. For example, the All Caps and Align to Path settings for text objects are controlled with checkboxes. Unlike parameters with sliders and dials, parameters controlled by a checkbox cannot be keyframed.
Pop-Up Menu Parameters that have a predefined set of options are controlled with pop-up menus. In some cases the choices available in the pop-up menu change depending on the settings of other related parameters. Several varieties of pop-up menus appear throughout the Motion interface, but they function identically. µ To change the value of a pop-up menu Click the menu and choose an item from the list.
Source Well Many effects in Motion apply specific parameters from one object to another. For example, the Bump Map filter applies texture from object A to object B. The Orbit Around behavior causes object C to circle around object D. You set these object relationships using a control known as a source well (sometimes called an Image well). A source well is an empty box into which you drag a source object to influence a target object.
µ Click the disclosure triangle on the left side of the color controls to expose individual Red, Green, Blue, and, when applicable, Opacity sliders. Pop-Up Color Palette When you control-click a color well or click the adjacent downward arrow, the Motion pop-up color palette appears. Click in the top area to select a color from the spectrum of hues, saturation, and lightness. Click in the bottom gradient to select a grayscale value.
The Colors window has four sections: the icons at the top select picker interfaces; the large color swatch shows the current color; the middle section shows the active picker; and the row of boxes can be used to save swatches. To show the Colors window Do one of the following: µ µ µ Click a color well. Choose View > Show Colors. Press Command-Shift-C. To pick a color in the Colors window Do one of the following: µ µ Click a color in the color picker area.
Expanding Color Controls Sometimes you need precise numerical control over colors. You might also need to match two colors exactly or adjust a color channel independently. Every set of color controls has a disclosure triangle, which, when clicked, reveals sliders for the Red, Green, and Blue color channels. You can choose or fine-tune a color by adjusting these sliders. Among other uses, these controls are handy when you need to keyframe each color channel differently.
Gradient Editor To customize or modify a gradient, click the disclosure triangle in the Gradient row to expand the controls and reveal the gradient editor. Controls in the Gradient Editor Use the gradient editor to change the color, color position, number of colors, opacity, direction, and interpolation of a gradient. Click the disclosure triangle in the Gradient row to reveal the gradient editor, which comprises a graphical control and additional subparameter controls.
The narrow bottom bar (the gradient bar) controls color in the gradient. Adjust the spread of color across the gradient by dragging one of the small box-shaped color tags horizontally along the bar. Click in the gradient bar to add more color tags. Delete a color tag by dragging it away from the gradient bar. Change the value of a color tag by selecting it and choosing a color from the color well below, or by double-clicking the tag and choosing a color from the Colors window.
Start: Value sliders that set the start position of the gradient in the selected object. This parameter affects the gradient as a whole—colors and opacity. Clicking the disclosure triangle stacks the X and Y value sliders vertically instead of horizontally. • X: Controls the X start position of the gradient. • Y: Controls the Y start position of the gradient. End: Value sliders that set the end position of the gradient in the selected object.
• Control-click a color tag to display the pop-up color palette. Drag the eyedropper in the palette to select a color. Drag in the lower palette to set the tag to a grayscale color. • Click a color tag, then Control-click the color well to display the pop-up color palette. • Click a color tag, click the eyedropper tool, then click a color in the Canvas. To move the position of a color tag or opacity tag 1 Click the color tag or opacity tag to move.
A new color tag is added to the gradient. Click the lower color bar to add a color tag. Note: Although the color, opacity, and position of the tags of a gradient can be animated, the number of color tags and opacity tags cannot. µ To add an opacity tag to a gradient Position the pointer in the opacity bar where you want to add the tag, then click. A new opacity tag is added to the gradient. Until the value is adjusted, the gradient opacity is 100%.
Tip: The lower the percentage of the opacity, the greater the transparency. Editing Color and Opacity Direction and Distribution You can reverse the direction or evenly distribute the gradient color and opacity tags. µ To reverse the gradient color or opacity direction Click the Reverse Tags icon next to the opacity or color bar. Reverse tags (opacity) Reverse tags (color) The tags are reversed.
The custom gradient appears in the Gradients category in the Library. Custom presets can be identified in the Library by the small user badge that appears in the lower-right corner of the larger gradient icon. The gradient also appears in the Gradient preset pop-up menu. Using Onscreen Gradient Controls Onscreen controls provide a more interactive way to edit a gradient’s color, location and value of color tags and opacity tags, and start and end points.
µ To remove a color or opacity tag Drag the color tag or opacity tag away from the gradient line and release the mouse button. To add a color tag Do one of the following: µ µ Double-click the gradient control line. µ Option-click the gradient control line where you want the tag. µ To duplicate a color or opacity tag Option-drag the tag to a position. µ Control-click the gradient control line where you want the tag, then choose Add Color Tag from the shortcut menu.
µ To evenly distribute the gradient color tags Control-click the gradient control line, then choose Distribute Color from the shortcut menu. µ To evenly distribute the gradient opacity tags Control-click the gradient control line, then choose Distribute Opacity from the shortcut menu. µ To apply a preset gradient style Control-click the gradient control line, choose Presets from the shortcut menu, then choose a preset style from the submenu.
Preset pop-up menu: A pop-up menu, found in various Inspectors, used to choose a preset text, shape, gradient, or other style to apply to an object. These are the same presets found in the Motion Library. For example, the Shape Style preset pop-up menu lets you apply a style to the selected shape (including paint strokes). Through this menu, you can also save custom text and shape presets to the Library. Animation menu: A hidden pop-up menu on the right side of many parameter rows in the Inspector.
Some operations, as well as the application of specific filters or a mask, cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. Rasterization affects 2D and 3D groups in different ways. When a 2D group is rasterized, the blend modes on objects within the group no longer interact with objects outside the group. When a 3D group is rasterized, the group cannot intersect with objects outside the group.
Motion Menus 4 The Motion menu bar provides access to most controls in the application. Many menu items are context-sensitive, that is, they change depending on the current state of the Motion application. For example, a menu item might appear dimmed when a command cannot be performed based on the current state of the application or what is selected. Many of these commands have shortcut keys that perform the same command from the keyboard. These shortcuts are listed in parentheses after the description.
• Commands: Opens a submenu of items for customizing keyboard shortcuts: • Customize: Opens the Command Editor. For more information, see Using the Command Editor. • Import: Opens a dialog that allows you to import a customized key command set. • Export: Opens a dialog that allows you to export a customized key command set. • Command Sets: Allows you to load a customized key command set.
• Open: Opens a Finder dialog where you can choose a Motion project to open. (Command-O) • Open Recent: Opens a submenu that lists the most recently opened files, giving you quick access to the projects you have been working on recently. You can clear the list by choosing Clear Menu from the bottom of the submenu. • Close: Closes the current project. If the project has not been saved, Motion asks you to save the project before closing the window.
• Page Setup: Displays the standard system Page Setup dialog where you can set paper size and orientation for printing. (Command-Shift-P) • Print: Displays the standard system Print dialog, where you can print the contents of the Canvas. (Command-P) Edit Menu This menu contains familiar commands such as Undo, Cut, Copy, and Paste and also contains commands to select and delete objects, modify project properties, and control the Motion spelling checker.
• Split: Breaks an object into two objects, each on its own Timeline track. The split occurs at the current playhead position. If no object is selected, or the playhead is not positioned over a selected object, this menu item is dimmed. • Transform Control Points: When multiple control points of a shape or mask are selected, choosing this command creates a transform box around the points. (Command-Shift-T) For more information, see Transforming Multiple Control Points.
• Special Characters: This command is part of Mac OS X. It opens the Characters Palette, which provides access to nontypical text characters like bullets, arrows, and currency icons. It can be used when typing in a text object in the Canvas, or when typing in the Text editor in the Text Inspector. Mark Menu This menu contains commands to set the beginning and end points of your objects, add markers to the Timeline, navigate through your project, and control animation of effects.
• Loop Playback: Turns looping on and off. When looping is enabled, playback repeats from the beginning of the play range after the end is reached. (Shift-L) • Record Animation: Turns keyframe recording on and off. For more information on recording animation, see Using the Record Button. • Recording Options: Opens the Recording Options dialog, where you can define user preferences for keyframe recording. For more information, see Recording Options.
• All: Renders the entire project and stores the frames in RAM. After the frames are stored, the region plays back at full speed. (Command-Shift-Option-R) • Clear RAM Preview: Clears the RAM cache. Object Menu This menu contains all commands for manipulating objects in Motion. This includes their placement in the layer hierarchy and physical alignment in the Canvas. • New Group: Adds a new empty group to the project.
• Align Top Edges: Moves the selected objects so their top edges line up with the topmost edge in the selection. • Align Bottom Edges: Moves the selected objects so their bottom edges line up with the bottommost edge in the selection. • Align Far Edges: In 3D mode, aligns the farthest edges of each object along the Z (depth) axis. • Align Near Edges: In 3D mode, aligns the nearest edges of each object along the Z (depth) axis.
• Solo: Soloing an object hides all other objects in the project. When the selected item is soloed, the menu item has a checkmark beside it. You cannot solo a camera, light, or rig. (Control-S) Note: You can also Control-click an object in the Layers list and choose Solo from the shortcut menu. • Isolate: Isolating an object displays the object in its original orientation.
• Make Particles: Uses the selected layer as a cell source for a new particle emitter. (E) • Replicate: Replicates the selected layer. (L) • Make Clone Layer: Creates a clone of the selected layer or group. In a motion graphics project, sometimes it is necessary to reuse an object in other parts of the project multiple times. Although you can duplicate or cut and paste any object, if you update the original, none of the changes you make are applied to the copies.
• Show Full View Area: Turns on or off the display of layers that extend beyond the edges of the Canvas. Areas that extend beyond the edges of the Canvas appear semitransparent. (Shift-V) • Use Drop Zones: Turns drop zones on and off. • Save View Defaults: Saves the current state of all overlay settings (rulers, safe zones, animation paths, 3D overlays, and so on) as the default state for new projects. For more information on overlays, see Canvas View Options.
• Reset View: Resets the camera view to its default orientation. (Control-R) • Fit Objects into View: Reframes the current camera to fit the selected objects into the Canvas. (F) • Frame Object: Frames the selected objects in the active view. (Command-Shift-F) If no objects are selected, Frame Object resets the reference camera to view all objects in the scene. For more information on camera views, see 3D View Tools. • Focus on Object: Used when a camera has depth of field turned on.
• Resolution: This submenu sets whether proxy scrubbing is enabled, and also sets the quality level of the Canvas. Reducing the resolution improves playback performance. The current setting is indicated with a checkmark beside the menu item. The menu items include the following: • Dynamic: Reduces the quality of the image displayed in the Canvas during playback or scrubbing in the Timeline or mini-Timeline, allowing for faster feedback.
• Field Rendering: Turns off field rendering to improve performance. When field rendering is enabled, a checkmark appears beside the menu item. (Option-F) • Frame Blending: Turns off frame blending to improve performance. When frame blending is enabled, a checkmark appears beside the menu item. (Option-Control-B) • Show Overlays: Turns the display of all overlays on and off in the Canvas. This setting must be on to view any other overlay items (rulers, grids, guides, and so on).
• Guides: This submenu lets you control the guides in the Canvas. • Lock Guides: Causes all guides to be fixed in their current position. This prevents you from accidentally moving a guide instead of moving an object. (Command-Option-Semicolon) • Unlock Guides: Releases guides to be manually manipulated. • Clear Guides: Removes all guides from the Canvas. • Add Vertical Guide: Adds a moveable, vertical guide to the center of the Canvas.
• Blend Mode: Displays the current blend mode of the layer or group. Choose a new blend mode from the pop-up menu. For more information on blend modes, see Using Blend Modes. • Media Columns: Opens a submenu of commands to turn on or off the display of technical information in the Media list of the Project pane: • Preview: Shows a thumbnail of the media file. The thumbnail for an audio file (with no associated image) appears as a speaker icon.
Share Use the Share menu to export your project. You can export high-quality movies and image sequences, send projects to the Media Browser for use in other Apple applications, or publish to popular sharing websites such as YouTube and Facebook. You can also create your own custom export settings. For more information, see Sharing Motion Projects. • Apple Devices: Publishes your project to iTunes, allowing you to watch it on Apple TV or in Front Row, or to download it to iPhone, iPad, or iPod.
• Export for HTTP Live Streaming: Exports a QuickTime reference movie for web hosting. For more information, see Exporting for HTTP Live Streaming. • Send to Compressor: Renders your project through Compressor, allowing you to further customize your export settings. For more information, see Exporting Using Compressor. • Export using Compressor Settings: Renders your project using predefined groups of export settings in Compressor. For more information, see Exporting Using Compressor.
• Player Mode: Fills your entire monitor with the Canvas, transport controls, and toolbar. In this mode, you can do all normal Canvas operations, including playback. To leave Player mode, choose the menu item again. (F8) • Show Canvas on Second Display/Show Canvas in the Main Window: If you have two displays connected to your computer, shows the Canvas and Project pane (Layers, Media, and Audio lists) on the second display. Choose Show Canvas in the Main Window to show the Canvas in the main project window.
• Service and Support: Opens a webpage that contains up-to-date technical support information about Motion.
Preferences 5 Motion Preferences allow you to customize your workspace, tailor the interface for different types of projects, and define the presets for new projects and exported finished movies. The Motion Preferences window contains nine panes that group global settings according to function: General, Appearance, Project, Time, Cache, Canvas, 3D, Presets, and Gestures. To open the Motion Preferences window, choose Motion > Preferences (or press Command-Comma).
General Pane The General Preferences pane contains global settings grouped into the following categories: Startup, Interface, File Browser & Library, and Media. Startup This section of the General Preferences pane allows you to define what Motion does when first opened. At Startup pop-up menu: This pop-up menu allows you to choose one of two default behaviors when Motion is launched: • Create New Project: Opens a new empty project.
File Browser & Library These settings in the General Preferences pane affect how the File Browser and Library display their contents. Display Folders: A pop-up menu that lets you select how folders appear in the File Browser and Library. Menu items include the following: • Alphabetically in List: Lists folders alphabetically. • Last in List: Groups the folders together at the end of the list after all nonfolder items.
Appearance Pane The Appearance pane of the Motion Preferences window contains settings that control visual elements of the Motion interface, grouped into the following categories: Timeline, Canvas, Thumbnail Preview, and Status Bar. Timeline This section of the Appearance pane in Motion Preferences lets you choose how to display the bars that appear in the Timeline to represent your objects.
Full View Opacity: If Show Full View Area is enabled in the View menu, this slider controls the opacity of the part of a layer that extends beyond the edge of the Canvas into the background. When set to 100%, the layer is transparent. When set to 0%, the layer is fully opaque. Thumbnail Preview The thumbnails that appear in the Layers list of Motion can provide helpful information about the items selected in that window.
• HSV: This setting displays the color as hue, saturation, and value (brightness), where hue is a percentage from 1–360, and saturation and value are ranged from 1–100 degrees. Alpha is also displayed ranged from 1–100 degrees. Project Pane The Project pane of Motion Preferences contains settings for project and layer duration and other project options. There are two categories of controls: Default Project Settings and Still Images & Layers.
For New Documents: These controls determine what occurs when you create a project. • Show Project Browser: When this option is selected, the Project Browser appears when you want to create a project. • Use Project: When this option is selected, the Choose button becomes available. Click Choose to specify a specific project to be opened when a new project is created. (If the project you want does not appear in the browser, click Open Other to locate the project using the Finder.
Time Pane The Time pane of Motion Preferences contains settings for how time is displayed in the project, as well as for playback and keyframing options. There are three categories of controls: Time Display, Playback Control, and Keyframing. Time Display The controls in this section of the Time pane of Motion Preferences set how the time is counted in the Motion toolbar’s timing display. Display Time As: A pop-up menu with two items: • Frames: Incrementing frame numbers appear in the timing display.
Loop audio while scrubbing: When this checkbox is selected, the audio for the frames where you drag the playhead repeats. When the checkbox is deselected, the audio for those frames plays only once. Keyframing This section in the Time pane of Motion Preferences contains controls to lock keyframes in time and to enable sub-frame keyframing.
Memory & Cache This setting in the Cache pane of the Motion Preferences window lets you specify how much memory is allocated to the project cache. Project Cache: Enter a number in the value field to specify the percentage of your total system memory to use for the project cache. The larger the number, the more memory available to Motion to cache frames, resulting in a higher likelihood of consistently smooth playback.
Note: A project must be saved before the Revert commands are available in the File menu. Optical Flow Retiming When you retime footage, Motion stores the retiming files on your computer. This setting in the Cache pane of Motion Preferences specifies the storage location. Save Retiming Files: You can choose to store the files in the same location as the source footage or specify your own location.
Alignment These settings in the Canvas pane of Motion Preferences control the color and display of the optional grid, rulers, and guides that appear in the Canvas. Grids, guides, and rulers can be turned on and off in the View menu or in the View pop-up menu in the upper-right corner of the Canvas. Grid Spacing: This slider sets the width for the grid in pixels. Grid Color: This color well sets the color of the grid lines. Guide Color: This color well sets the color of guides.
When producing output to be used for both television and film, it is helpful to see the area of the TV frame that will be cut off when the clip is converted to film. The film zone settings allow you to display a guide that identifies the aspect ratio of the film gauge you are working in. The safe zone and film zone guides can be turned on and off in the View menu, or in the View pop-up menu in the upper-right corner of the Canvas.
General 3D This area of the 3D pane in Motion Preferences lets you control the Inset view and choose whether new groups default to 2D or 3D mode. Display Inset View: A pop-up menu that lets you control when the Inset view (a temporary window that displays a camera view) appears in the Canvas. Inset View must be enabled in the View menu or View pop-up menu (in the upper-right corner of the Canvas) for the Inset view to appear.
3D Grid Spacing: Specifies the spacing between grid lines, in pixels. Primary Grid Color: Lets you set the color of the main grid lines. The main grid lines appear slightly heavier than the secondary grid lines. Secondary Grid Color: Lets you set the color of the secondary grid lines (the lines that appear within the main grid lines). Presets Pane The Presets pane of Motion Preferences contains presets for project settings.
Delete button (–): To remove a preset, select the preset to remove and click the Delete button (–). Duplicate: To duplicate a preset, select the preset to duplicate, then click Duplicate. Edit: To edit a preset, click the Edit button. The Project Preset Editor appears. Project Preset Editor The Project Preset Editor is where you make changes to a project preset. Note: Locked presets cannot be edited.
Note: In the lower-right corner of the Project Browser, only the resolution, field order, and aspect ratio appear—the descriptive text (or preset name) does not appear. Width and Height: These fields set the frame size for the preset. Pixel Aspect Ratio: Sets the pixel aspect ratio for the preset. This should match the type of media with which you are working. Field Order: Sets the field order for your project. DV projects typically use the Lower First setting.
Allow gestures in the air: Lets you trigger gestures without pressing the tip of the pen on the tablet. This option is available only when a pen button is set as the trigger to activate gestures.
Creating and Managing Projects 6 A Motion project contains a single composition made up of multiple image layers and applied effects. When you import still images and video clips into a project, Motion creates a linked reference to the source media files on disk but doesn’t move, duplicate, or modify the original files. Motion project files store information about how a composition is assembled, what media files on disk are used, and what effects from the Library have been applied.
Note: Previous versions of Motion allowed multiple open projects, each appearing in its own window. Motion 5 allows only one open project at a time. If you have one project open and attempt to create or open another, Motion prompts you to save, then closes the current project before opening the next project. Motion is resolution-independent, which means it supports projects using a range of frame sizes and frame rates.
The Project Browser The easiest way to open a new or saved project is to use the Project Browser window. When you open Motion, the Project Browser appears, giving you access to Motion projects, new and old. The Project Browser contains three columns: a sidebar with a list of project categories, a project stack in the center displaying thumbnails of available projects based on the sidebar selection, and an information column on the right listing file format details.
• Final Cut Titles: Displays a list of saved title templates for use in Final Cut Pro X. The project stack at the center of the File Browser displays thumbnails of available projects (blank and saved) in the category selected in the sidebar. You can further filter the contents of the stack by entering a word in the search field or using the Theme pop-up menu at the bottom of the stack. Choosing a theme limits the display to projects assigned to that theme.
3 Modify the resolution, frame rate, and default duration if needed using the pop-up menus above the preview area. 4 Click Open. The Project Browser closes and the project you selected opens in the Motion workspace. If you selected an existing project, that project opens to its last saved state. if you select a blank project type, preset project type, or Final Cut Pro X template, a new, unsaved project is opened. Saving that project does not overwrite the preset project or template.
Creating Projects from Templates An easy way to create a project in Motion is to open and modify an existing template. Motion templates—shown in the Compositions category in the sidebar—are premade, royalty-free projects that you can customize. Each template contains graphics, text objects, and backgrounds. You can also create templates for frequently used layouts, customizing them with updated text and graphics. To create a project from a template 1 Choose File > New (or press Command-N).
If an unsaved project is open, Motion prompts you to save that project, or close it without saving. The Project Browser appears. 2 Select the Blank category in the sidebar, then click the Motion Project icon in the stack. 3 Choose a resolution from the Preset pop-up menu and a frame rate from the Frame Rate pop-up menu in the right column, then click Open. A new, untitled Motion project opens. The project is not saved to disk until you choose a save command from the File menu.
4 Choose the resolution (width and height), field order, aspect ratio, frame rate, and default duration for your custom project. 5 Click Open. A new Motion project opens using the settings you specified. Bypassing the Project Browser If you consistently create projects with a specific preset, template, or other starting project, you can bypass the Project Browser. This way, when you create a project, it is opened in the Motion workspace with the settings you established.
Creating, Editing, and Deleting Presets If you commonly create projects using custom settings that don’t match any available preset, you can create a preset with these settings for future use. Presets are created, modified, and deleted in the Presets pane of Motion Preferences. Note: The Default checkbox in the Presets pane of Motion preferences has no effect. To set a default project preset, see Bypassing the Project Browser.
4 In the Project Preset Editor, do the following: a In the Name field, enter a descriptive name for the preset. b In the Description field, enter a brief description of what that preset is for. Include significant characteristics of that preset, such as frame size and frame rate. c Enter a frame size into the Width and Height fields. d Choose a Pixel Aspect Ratio, Field Order, and Frame Rate from the corresponding pop-up menus. 5 Click OK.
µ To copy a project preset to another computer Copy your custom preset files to that computer’s /Users/username/Library/Application Support/Motion/Presets/Project/ folder. Managing Projects When you work on a project in Motion, it’s important to be organized. This includes keeping careful track of your project files, saving often, and maintaining regular backups. Motion also autosaves projects to files that can be retrieved at any time.
Important: When using the Save As command, use a name that is different from the name of any saved versions of the same project. Otherwise, you run the risk of overwriting a version of this project file you want to keep. Collecting Media When saving a project, you can to gather the media used in the project in a folder. Collecting these files organizes your project media in a single place, making portability and backup easier. By default, Collect Media is turned off.
µ To set a location for the Autosave Vault folder In the Cache pane of Motion Preferences, click Choose and select a location in the dialog. To revert to an autosaved project 1 Choose File > Restore From Autosave. The Restore Project dialog appears. 2 Choose a saved project from the pop-up menu. Reverting Projects The Revert to Saved command discards all changes you’ve made to a project since the last time you saved it. The Revert command is useful as a tool for trying out changes in your project.
To create a project prepopulated with specific media 1 Choose File > Import as Project or press Shift-Command-I. The Import Files as Project dialog appears. 2 Navigate to and select the files to populate the project, Shift-clicking to select contiguous items or Command-clicking to select noncontiguous items. As you select files, format settings at the bottom of the dialog become available. Settings inherent to the selected files remain dimmed, but propagate to the new project.
You can also open existing projects and templates, and create projects from presets using the Project Browser. For more information, see The Project Browser. Closing Projects Close a project by closing the project window or pressing Command-W. Moving and Archiving Motion Project Files To move a Motion project file to another computer, you must also move all media that the project uses, including all QuickTime, still image, and audio files.
Project property Description Pathname The path to a media object in a project Text The content of a text object in a project Description Text in the Project Description field in the Properties Inspector Marker name The name of a marker in the Timeline of a project Marker comment Text of a marker comment in a project Project Properties When you create a project, you specify a set of project properties—Resolution, Frame Rate, Duration, and so on.
• Select the Project object at the top of the Layers list, then open the Inspector and click Properties. The Inspector opens and displays the Properties pane. 2 In the Properties Inspector, change any necessary parameters, then click OK. Important: Project Frame Rate cannot be changed after a project is created. The Properties Inspector for the project contains settings for video file format, timecode display, motion blur, and other project attributes.
General Settings The following parameter controls appear in the General section of the Properties Inspector: Preset: Use this pop-up menu to choose a common video format to base your preset on. After choosing a preset, you can adjust the other parameters in the Properties Inspector to customize your format settings. For more information about managing Motion project presets, see Creating, Editing, and Deleting Presets.
Background: Use this pop-up menu to define whether the Background Color is rendered as part of the alpha channel. Regardless of the selection, the Background Color is visible in the Canvas. There are three options: • Transparent: The background color does not render as part of the alpha channel. • Solid: The background color creates a solid alpha channel. • Environment: The background color creates a solid alpha channel and interacts with 3D projects, including blend modes and reflections.
The Motion Blur section of the Properties Inspector has two settings: Samples: Use this slider to set the number of subframes rendered per frame, where 1 frame represents 360 degrees. Higher Samples values result in a higher-quality motion-blur effect, but are more processor-intensive. The default Samples value is 8. The maximum possible value is 256. Shutter Angle: Use this slider to define the size of the motion blur that appears for animated objects.
The Reflections section of the Properties Inspector has one parameter: Maximum Bounces: Use this slider to limit the number of recursive reflections that can occur when two or more shiny objects reflect one another. This parameter is intended to prevent an endless repetition of reflective bounces. For more information about reflections, see Reflections.
Adding Media to a Project After you create a project, you typically import media files to create a composition. All media types—movie clips, still images, and audio files appearing in the File Browser, or other media items appearing in the Motion Library—are added to your project using the same methods. To learn about the File Browser, where you access files on your disks, see File Browser. To learn about the Library, where you find the content built into Motion, see Library.
Adding Media Files to a Project Use the following procedures to add media files to Motion. Note: Although iTunes and iPhoto files can be added via the File Browser, it is better to add them via the Music and Photo categories in the Motion Library. Using the Library allows you to browse for files using the playlist or photo album features available in iTunes and iPhoto. For more information, see Adding iTunes and iPhoto Files from the Library.
• Drag the files between any layers in a group. A position indicator shows where the layers will be placed when you release the mouse button. • Drag the files into the Timeline, placing them between any layers nested in an existing group. Note: For more information on adding objects to the Timeline, see Using the Timeline. When you add a media file to a project, the file appears as a layer in the Canvas, Timeline, Layers list, and Media list.
• [Individual layers]: Each layer in the Photoshop file appears as a separate item in the drop menu. Selecting a layer adds only that layer to the project, where it appears as a single Motion layer. Note: When a Photoshop file contains more layers than can be displayed in the drop menu, the Choose Layer option appears in the drop menu. After you click the Choose Layer option, the Pick Layer to Import dialog appears. To add a layered Photoshop file using the Import command 1 Choose File > Import.
By default, media added to your project is managed by Motion. If you delete a layer from the Canvas or Layers list, the source media is removed from the Media list. You can turn off this media management feature in the General pane of Motion Preferences. For more information, see Media. Duplicating Files If you need more copies of an object in your project, use the Duplicate command or drag a source media from the Media list to the Canvas or Timeline. Both methods create a new instance of the source media.
Online Versus Offline Media Adding a media file to a Motion project creates a link between the resulting image layer in Motion and its corresponding media file on disk. If you move, delete, or rename media files on disk, the linked layers in Motion go offline. Media can also go offline if you give someone a project file without also providing the source media it uses. Offline layers appear as checkered rectangles that occupy the entire bounding box of the missing image.
When you open a project file with offline media, a dialog appears listing all files that can’t be found. If the media was moved to another folder or disk instead of being deleted, you might be able to locate them on your computer using the offline media Search feature. If you know the location of the missing media, you can display a manual reconnection dialog and navigate to the files without searching. If the file was renamed, you must locate it manually.
To restore offline media using the Reconnect button 1 In the alert dialog, click Reconnect. A manual reconnection dialog appears. 2 In the dialog, navigate to the file’s location, select the file, then click Open. The file is reconnected.
To delete objects from a project 1 Select objects by doing one of the following: • To delete an object, select it in the Layers list, the Timeline, or the Canvas. • To delete multiple objects, Shift-click to select the objects. Note: In the Layers list or Timeline, you can Command-click to select noncontiguous objects. 2 Do one of the following: • Choose Edit > Delete. • Press Delete. The objects are deleted from your project, but their corresponding source media files on disk remain untouched.
The layer’s original source media is replaced by the new source media. The curved pointer appears when you drag a new object over an existing object. You can also exchange source media in the Media Inspector. To exchange source media via the Media Inspector 1 In the Media list, select the object to replace. 2 Open the Media Inspector or HUD. 3 Click Replace Media File. A file navigation dialog appears. 4 Navigate to the file that will replace the current source media. 5 Click Open.
Media Inspector The following controls let you modify source media in the Media list. Modifying source media modifies all layers in a project linked to that source media. Note: The parameters described below do not apply to Photoshop files imported as separate layers. PDF files with transparent backgrounds do not have the Alpha Type or Invert Alpha parameters.
Alpha Type: Use this pop-up menu to choose how Motion deals with alpha channels in the media item. An alpha channel contains information defining areas of transparency in the image or movie. When you import an image file or QuickTime movie, its alpha channel is immediately recognized by Motion. There several different ways to embed alpha channel information into files, which correspond to the options in this menu.
Field Order: Use this pop-up menu to choose a field order that matches the field order of the device used to capture an interlaced clip. There are two choices: Upper (Odd) or Lower (Even). If you choose incorrectly, you’ll notice during playback that the video stutters during playback. When this happens, choose the opposite field order. Clips shot on film or with a progressive scan video camera have no interlacing, therefore Field Order should be set to None.
• Duration: Sets the total duration of the source media. If Time Remap is set to Constant Speed, adjusting Duration also affects the Speed and Out point. If Time Remap is set to Variable Speed (in the Timing controls of the Properties Inspector), adjusting Duration does not affect variable speed playback. Linked Objects: Use this list to see all objects in the Layers list that are linked to the selected source media in the Media list.
Mixing Different Kinds of QuickTime Files You can combine clips that are compressed with different codecs in the same project. You can also combine clips that have different frame sizes, pixel aspect ratios, and interlacing. To learn more about alpha channels, interlacing, pixel aspect ratio, frame rates, and frame sizes, see Supported File Formats. Still Image Files You can import still image files using most popular still image formats, including SGI, Photoshop, BMP, PICT, JPEG, TIFF, TGA, and JPEG-2.
2 In the Still Images & Layers group of the Project pane, choose a setting from the Large Stills pop-up menu. Large Stills preference There are two options: • Do Nothing: Imports the image at its original size. In the following example, a 2311 x 1525 image is imported into a Broadcast HD 1080 project (1920 x 1080) with Do Nothing selected in the Preferences. The image is larger than the Canvas.
In the following example, the same image is imported with Scale to Canvas Size selected in Preferences. The image is scaled—the equivalent of using the Select/Transform tool to scale down the image in the Canvas while pressing Shift. To observe that the image is merely transformed and has not changed resolution, select the image file in the Media list, then open the Media Inspector. The Fixed Width and Fixed Height parameters display the resolution of the original file.
Image Sequences Numbered image sequences store video clips as individual still image files. Each image file has a number in the filename that indicates where it fits into the sequence. In a film clip that’s been digitally scanned, each file represents a single frame. In a video clip that’s been converted to an image sequence, each file contains both fields of a single video frame, with the upper and lower lines of the image saved together.
• With each Photoshop layer preserved as a separate Motion layer, nested in a new group • By choosing a single Photoshop layer When you import all Photoshop layers as individual Motion layers, Motion places them in a new group in the Layers list and Timeline. Each layer retains the position, opacity, and blend mode of its corresponding original Photoshop layer. Although you can import Photoshop text layers, the text appears in Motion as noneditable bitmap graphics.
Fixing the Resolution of a PDF Object Although PDF files have unlimited resolution, large PDF objects can consume a lot of video memory, which can hinder performance in Motion. To avoid this, limit the resolution of each PDF image to save video memory. By using fixed-resolution parameters, the files are rendered once, ensuring better performance. The fixed-resolution parameters for PDF objects are adjusted in the Media Inspector.
Multi-Page PDF Files You can import multipage PDF files. When you do, a parameter called Page Number appears in the Properties Inspector when the PDF object is selected. Drag the slider to set which page is displayed in the Canvas. Animate this parameter to display different pages over time. Important: Multilayered PDF files are not supported. To import a multilayered illustration, export each layer as a separate PDF file and import these as a nested group of objects in Motion.
You can import audio clips with various sample rates and bit depths. When you do, Motion resamples audio tracks to the sample rate and bit depth used by your computer. The default is 16-bit, 44.1 kHz float for the built-in audio interface. If you use a third-party audio interface, audio is remixed to the sample rate and bit depth used by that device. You can import audio files with sample rates up to 192 kHz and with bit depths up to 32 bits. Mono and stereo files are supported.
Behaviors and Filters Behaviors and filters are applied to image layers that have been added to the project. A behavior or filter must be attached to an image layer to have an effect. Behaviors and filters can be customized after they are added to a project, and customized versions can be stored in the Library for future use. For more information about behaviors, see Using Behaviors. For more information about filters, see Using Filters.
Shapes This category contains premade shapes that you can use as visual elements or as image masks. Each shape is a Bezier shape and can be customized using Motion’s shape-editing tools. For more information about editing shapes and masks, see Using Shapes, Masks, and Paint Strokes. Gradients The Gradients category contains gradient presets for use in the gradient editor found in particle system emitters and cells, as well as in text objects and shapes. You can also save your own custom gradients.
Content Motion ships with a collection of premade graphics and Motion-generated objects that appear in the Content category. These objects can be dragged into the Canvas and used as a design element in a project. Some subcategories contain objects used to make the templates included with Motion. The one exception is the Particle Images subcategory, which comprises particle cell sources used to generate the particle emitter presets included with Motion.
You can also place media from disk into the Content, Favorites, or Favorites Menu categories. Using Custom Objects from the Library When you drag a custom object from the Library to the Canvas, the center of the object is dropped where you release the mouse button. If you use the Apply button in the preview area to add the object, the object is added at the center of the Canvas.
You can close the project and install the necessary files on your computer, or open the file. When you open a file with missing media, the following occurs: • Missing Content: Missing content is treated like any other missing media item. For more information about reconnecting media, see Online Versus Offline Media. • Missing Filters: When a filter is missing, a placeholder object appears in the Layers list and Timeline.
3 Do one of the following: • In the preview area, click Apply. • Drag the file to the Canvas, Layers list, or Timeline. Note: When importing large-scale images into Motion, you can import the files at their native resolution or at the resolution of the Motion Canvas. For more information, see Using High-Resolution Still Images. About Networked Disks and Removable Media Be careful when adding media files from a remote server to your project.
Layers, in turn, are nested in containers known as groups. When you create a layer, that layer is placed inside a group. You can drag a layer from one group to another, but layers cannot exist on their own, outside a group. Layers nested inside groups appear indented in the Layers list and Timeline. Enclosing group Nested layers A group can also contain other groups nested inside it.
For example, when you select a group that has three layers nested in it, the entire group is selected as a single unit. Moving a selection in the Canvas moves all three layers simultaneously. Before moving group After moving group Regardless of how they’re nested, layers can always be animated independently. Subordinate groups can also be animated independently.
In the following example, a filter is applied to a layer in a group containing three fish layers. All other layers in the group remain unaffected. However, If you apply the same filter to the group, all layers in that group are affected by the filter, as if they were a single layer.
Many filters produce different results when applied to a group, rather than individual layers in a group, as shown in the images below. Filter applied to group Filter applied to each layer in group Background of a Project Two parameters in a project’s Properties Inspector affect the background color of a project and how a composition appears when exported out of Motion. (To open a project’s Properties Inspector, choose Edit > Project Properties).
µ Click to the left of the thumbnail column and drag up or down to select multiple layers. (This method works only when you begin dragging above the first or below the last object.) To select or deselect multiple noncontiguous layers or groups Do one of the following: µ µ Command-click any unselected layer or group to add it to the selection. Command-click any selected layer or group to deselect it.
New groups appear at the top of the Layers list, and are numbered incrementally based on the number of groups you’ve created so far. When you have more than one group, you can move layers back and forth between them, changing their nested relationship in your project. To move a layer from one group to another 1 Select one or more layers. 2 Do one of the following: • Drag the selected layers to a position underneath another group.
Grouping and Ungrouping Layers You can also nest layers together in a group using the Group command. You can group layers that appear in the same group, or you can group groups that are nested at the same level relative to the hierarchy of your project. You cannot group groups that appear at different levels. To group selected layers together, nesting them in a group 1 Select all layers or groups you want to group together. 2 Choose Object > Group (or press Command-Shift-G).
To show or hide selected layers Do one of the following: µ Click the checkbox to the left of an object or group in the Layers list or Timeline. Activation checkboxes µ µ Choose Object > Active (or press Control-T) to turn the layers on or off. Control-click a layer or group, then choose Active from the shortcut menu. Note: If you hide layers in a group, the enclosing group’s checkbox displays a dash instead of a checkmark, to indicate that some layers are not visible.
The project in the following image contains a particle system. The animated particles, although not visible when they move off the Canvas, make the group containing them large. Boundary of particle system Group with Fixed Resolution disabled Boundary is limited to height and width set in Group inspector Group with Fixed Resolution enabled You can crop the size of a group that contains growing objects using the Fixed Resolution checkbox in the Group pane of the Inspector.
When enabled, the Fixed Resolution parameter crops the group to the size specified in the Fixed Width and Fixed Height parameters. This means that if the group’s anchor point is offset, the cropping might not occur around the edges of the Canvas, and objects can become cut off. Anchor point Selected group with an offset anchor point before Fixed Resolution setting is enabled. Anchor point Selected group with Fixed Resolution enabled, and set to project size. Notice that text objects are cut off.
Locking Groups and Layers When you finish making adjustments to a layer or group, you can lock it to prevent accidental modification. Locked layers cannot be moved, and their parameters cannot be altered or animated. Animation and behaviors applied to the layer before being locked still play. Locking a group also locks all layers and groups nested in it. Note: You cannot lock objects that contain published parameters (for use in Final Cut Pro X). Such objects display a dimmed lock control.
Renaming Groups You can rename the groups and layers that appear in the Layers list to further organize your project and make each group’s and object’s purpose easier to identify. When you rename a layer, the original name of the source media file on disk remains unchanged. Also, changing a layer’s name in the Layers list does not change the name of its corresponding source media in the Media list. You cannot change the name of source media in the Media list.
Note: Groups and layers hidden as the result of a search operation are not disabled in the Canvas, and they are not prevented from rendering during export. In addition to searching for layers by name, you can find an object’s source media in the Media list using the Reveal Source Media command. Sorting Objects in the Media list The Media list contains the following columns that provide information about each object in your project. µ Column Description Preview Displays a thumbnail of the media object.
Customizing and Creating Templates Motion comes with a collection of templates you can customize. You can also create templates. To learn about creating Templates for use in Final Cut Pro X, see Creating Templates for Final Cut Pro X. Customizing Projects Created with Templates When you open a new project file from a template, the project is a duplicate of the original template. There’s nothing special about template-based projects, and they can be edited and modified like any other project.
Using Objects, Behaviors, and Keyframes from Templates Occasionally, you might want to use a keyframed parameter or behavior from a template in a project of your own. You can create a template-based project, select the keyframes or behaviors you want to use, copy them, and paste them into your own project. All graphics objects used by the templates appear in the Content category of the Library, in the Template Media subcategory. If there’s a graphic you want to use, you can find it in the Library.
A drop zone layer is added to the project. 2 Position and scale the drop zone object. 3 If needed, rename the drop zone layer in the Layers list. 4 Open the Inspector and click Image to access the drop zone parameters. For more information about using these parameters, see Drop Zone Parameters. µ To scale a drop zone Select the drop zone object, then resize the drop zone in the Canvas using the Select/Transform tool.
2 Do one of the following: • In the Canvas, double-click the drop zone. The Adjust Item tool is selected. • In the toolbar, select the Adjust Item tool. The drop zone bounding box appears as a dotted line. 3 Drag the scale handles in the Canvas to resize the image. The image’s bounding box appears as a solid line and scales uniformly. Portions of the image that extend beyond the edges of the drop zone appear semitransparent. To scale a drop zone image in the Inspector 1 Select the drop zone.
To pan a drop zone image via the Inspector 1 Select the drop zone. 2 In the Image Inspector, adjust the Pan parameter X and Y value sliders. Click the Pan disclosure triangle to reveal individual X and Y sliders. To assign a background color to a drop zone 1 Select the drop zone. 2 In the Image Inspector, select the Fill Opaque checkbox. Any empty portion of the drop zone is filled with black. 3 Use the Fill Color well to choose a custom drop zone fill color.
Fill Color: When the Fill Opaque checkbox is selected (and the image is scaled or panned), sets the drop zone background color. Use Display Aspect Ratio: Select this checkbox to resize media placed in the drop zone according to the project’s aspect ratio. For more information about display aspect ratios, see Adding Multiple Display Aspect Ratios to a Template . Clear: Use this button to clear the image from the drop zone, replacing it with a downward-arrow graphic.
Objects in the Canvas shrink and separate in an exploded view so you can see them all. Moving the pointer over an object reveals its Layers list name. Note: You cannot Command-drag nonimage objects (shapes, Motion projects, particles, etc.) to the Canvas. 3 Drop the object onto its target. The object replaces its target, and the Canvas view returns to normal. Creating Templates In addition to using and customizing templates that ship with Motion, you can build new templates.
Template Rules of Thumb When designing templates, there are a few useful rules of thumb: • Use descriptive group and layer names: Group and layer names in a template should describe each object’s function. For example, text objects in a titling template might be named “Main Title,” “Starring,” “Guest Star,” and so on. If you use visual elements in the template’s composition, their layer names should describe their function: “Background Texture,” “Divider,” and “Main Title Background,” for example.
The new category appears in the column at the left under the template type you selected. To delete a category in the Project Browser 1 Choose File > New From Project Browser. The Project Browser appears. 2 Select a category in the sidebar. 3 Press Delete or click the Delete button (–). An alert dialog prompts you to confirm the deletion. The directory on your disk corresponding to that category is placed in the Trash, but is not deleted.
Basic Compositing 7 Compositing is the process of combining at least two images to produce an integrated final result. The process can be as simple as placing text over an image, or as complex as combining live actors with drooling space aliens who shoot laser beams from their eyes.
Use the Motion editing tools to perform basic layout tasks: selecting, moving, rotating, scaling, distorting, cropping, changing a layer’s anchor point, and manipulating drop shadows. These editing tools are available on the left side of the toolbar. When you choose an editing tool, specific onscreen controls become available in the Canvas; drag these controls to perform the selected action. Drag a corner handle to resize the object.
When you begin to lay out a composition, it’s a good idea to start by creating a static layout of your project that represents how it looks at the beginning, end, or at a particular moment in time. In addition to manipulating the geometry of layers in your project, you can also alter their opacity to adjust how overlapping elements of your layout merge together.
The arrangement commands can be used with layers, objects, groups, or groups nested in another group. Reordering a group reorders all objects nested in that group. Note: You cannot use the Object menu reorder commands to move image layers out of the group they’re nested in. There are four arrangement commands in the Object menu: • Bring to Front: Places the selected layer in front of all other layers in the same group by moving the layer to the top of the nested group in the Layers list and Canvas.
Reordering Nonconsecutive Selections When you apply the Bring Forward or Send Backward arrangement command to noncontiguous selected layers (Command-click to select noncontiguous layers), the layers move up or down the object hierarchy together, and any space between the layers remains.
When a layer is selected in the Canvas, it is surrounded by a bounding box with transform handles corresponding to the selected transform mode. These handles allow you to transform each selected layer. µ To select a single layer in the Canvas Click any layer in the Canvas. To select multiple layers in the Canvas, or to add layers to a selection Do one of the following: µ µ µ Drag a selection box over the layers to select. Holding down the Shift key, click the layers to select them.
From time to time, a layer might be hidden behind another layer in the Canvas. The best way to select a hidden layer is to select it in the Layers list or Timeline. When you do so, the layer’s bounding box and transform handles appear in the Canvas, even if the layer is completely obscured. Note: When you select an inactive layer (a layer whose activation checkbox is deselected in the Layers list), only the layer’s bounding box appears in the Canvas—the layer itself is not visible.
Transforming a Single Layer If you select a single layer, the changes you make affect only that layer. All unselected layers remain untouched. For example, if you select a single layer, transform handles appear around that one layer. Before After scaling Transforming Multiple Layers If you select multiple layers in the Canvas, changes made to one layer are simultaneously made to all others.
Transforming a Group If you select an entire group, all layers and groups nested in it are treated as a single layer. One set of transform handles appears on a bounding box that encompasses every layer in that group. All layer transforms occur around a single anchor point belonging to the group. Before After scaling 2D Transform Tools Before you transform a layer in the Canvas, make sure the pointer is set to the correct tool. These tools can be selected from the toolbar.
• Anchor Point: Offsets the anchor point used for all layer transforms. • Drop Shadow: Manipulates layer drop shadows in the Canvas. • Distort: Stretches a layer into polygonal shapes. • Crop: Cuts off pixels from any of the layer’s four edges. • Edit Points: Manipulates control points on shapes, paths, and curves. • Transform Glyph: Transforms individual letters in a text layer. The Transform Glyph tool is also a 3D tool, using the same transform controls as the 3D Transform tool.
Pressing Shift while dragging constrains movement to the X or Y axis, even when working in a 3D group. You can move layers anywhere in the frame defined by the Canvas, but you can also drag layers past the edge of the frame. By default, when you move a layer past the edge of the frame, it becomes invisible, although you can still manipulate it using its bounding box. Note: The bounding box that indicates the position of layers located offscreen only appears when those layers are selected.
To move a layer in 3D space, you must select the 3D Transform tool or use the 3D onscreen controls. For more information on moving layers in 3D space, see 3D Transform Tools. Using Canvas Compositional Aids When arranging layers in the Canvas, take advantage of various compositional aids to help you. For example, if you are working on a piece for broadcast or film, turn on the safe zones in the Canvas to avoid putting layers past the title-safe or action-safe boundaries.
Each of the following commands affects the Position parameter of each layer: • Align Left Edges: Layers are moved horizontally so their left edges line up with the leftmost layer in the selection. • Align Right Edges: Layers are moved horizontally so their right edges line up with the rightmost layer in the selection. • Align Top Edges: Layers are moved vertically so their tops line up with the topmost layer in the selection.
• Distribute Vertical Centers: Layers are moved vertically so the centers of all layers are evenly distributed, from top to bottom, between the topmost and bottommost layers in the selection. • Distribute Depth Centers: Layers are moved in Z space so the centers of all layers are evenly distributed, from closest to furthest, between the closest and furthest layers in the selection.
To resize the height and width of a layer in the Canvas independently 1 Click to select the layer in the Canvas. Note: If you have another tool selected, such as a Mask or Shape tool, pressing the S key returns you to the 2D transform tools. A bounding box appears around the selected layer. Note: You can also Control-click the layer in the Canvas, then choose Transform from the shortcut menu. 2 Do one of the following: • Drag a corner handle to resize the layer’s width and height at the same time.
• Press Shift, then drag a corner handle to resize the layer while locking its width and height together, maintaining the layer’s current aspect ratio. • Drag the top or bottom scale handle to limit scale changes to the layer’s height, or drag the left or right scale handle to limit scale changes to the layer’s width. • Press Option while dragging any scale handle to resize a layer around its anchor point, rather than unilaterally.
As you drag the scale handles, the new width and height percentages appear in the status bar above the Canvas. Status area shows scaling amount Note: Scaling the width or height of a layer by a negative value reverses the image, flipping its direction. Rotating The Select/Transform tool also activates a handle that allows you to rotate the image around its anchor point.
As you drag the rotation handle, the original angle of the layer is indicated by a small circle that appears on a larger circle surrounding the layer’s anchor point. Additionally, the status bar shows you the new angle of rotation. Status bar shows rotation amount. Using the Anchor Point Tool Using the Anchor Point tool, you can move any layer’s anchor point, changing the way different geometric transforms are performed.
Layers rotate around the anchor point, but the anchor point also affects resizing operations. For example, the default anchor point for any layer is the center of the bounding box that defines its edges. If you rotate a layer, it spins around this central anchor point.
If you offset the anchor point, however, the layer no longer rotates around its own center, but instead rotates around the new anchor point. Object rotated around anchor point This not only affects the rotation of a layer, but any moving and scaling operations performed upon that layer as well. Changes made to a layer’s anchor point are stored in the Anchor Point parameter of the Properties Inspector.
Note: If the anchor point is close to the center or edges of the layer, and both Snapping and Dynamic Guides are turned on, the anchor point snaps to that location. Using the Drop Shadow Tool The Drop Shadow tool activates onscreen handles that can be used to change the blur, angle, and distance of a layer’s drop shadow.
2 In the Canvas, drag the four corner handles to stretch the layer into a shape. After you distort a layer, you can revert to the layer’s original shape by deselecting the layer’s Four Corner checkbox in the Properties Inspector. Doing so resets the shape of the layer without resetting the shape you defined in the Four Corner parameters of the Properties Inspector. Note: The Four Corner parameters can be used in combination with a tracking behavior to create a four-corner track on a foreground layer.
2 In the Canvas, drag a shear handle to slant the layer. The top and bottom handles angle the layer horizontally. The left and right handles angle the layer vertically. Note: Shearing a layer using the Distort tool does not affect the Shear parameter in the Properties Inspector. Instead, the Distort tool modifies the Four Corner parameters to simulate a Shear effect. You can still modify the Shear parameter, effectively shearing the shear simulation for interesting results.
Cropping allows you to chop off any of the four edges of a layer to eliminate parts you don’t want to see in your composition. Common examples of layers you’d want to crop are video clips with a black line or unwanted vignetting around the edges. You can use the crop operation to remove these undesirable artifacts. You might also crop a layer to isolate a single element of the image.
• Press Shift while you drag to constrain corner or edge cropping to the aspect ratio of the layer. Note: If a layer is modified with the Distort tool, the Crop tool and its onscreen controls become disabled. However, you can still crop a distorted layer by adjusting its Crop parameter settings in the Properties Inspector. Additionally, the crop area and the image can be manipulated separately. µ To move the crop area while keeping the underlying image in place Drag inside the crop area.
Using the Transform Glyph and Adjust Item Tools The Transform Glyph tool, available when a text layer is selected, activates onscreen controls that allow you to modify the position and X, Y, or Z rotation for individual characters (glyphs) in a text layer. For information on using the Transform Glyph tool, see Adjusting Glyph Attributes. The Adjust Item tool activates onscreen controls that allow you to manipulate filters, behaviors, generators, and other objects.
Transform Parameters Position: Defines the X (horizontal), Y (vertical), and Z (depth) position of each layer. The coordinate system used by Motion specifies the center of the Canvas as 0, 0, 0 regardless of the frame size of the project. Moving a layer to the left subtracts from the X value, while moving to the right adds to the X value. Moving a layer up adds to the Y value, and moving a layer down subtracts from the Y value.
Scale: A slider that controls the percentage representing the layer’s scale, relative to its original size. By default, the horizontal and vertical scale of a layer is locked to the layer’s original aspect ratio—represented by a single percentage. Click the disclosure triangle to display independent percentages for the X, Y, and Z scales of the layer. Note: Setting a layer’s scale to a negative value flips the layer. Shear: Value sliders that defines the X and Y shear of the layer.
The following three parameter groups in the Properties Inspector—Lighting, Shadows, and Reflection—appear only when the parent group is set to 3D. Lighting Parameters Shading: A pop-up menu that sets how a layer responds to lights in the scene. There are three options: • Inherited: The layer uses the shading value of its parent. • On: The layer can be lit. • Off: The layer ignores scene lights. Highlights: When this checkbox is selected, lit layers in the scene show highlights.
Additional Lighting, Shadows, and Reflection Restrictions The Lighting, Shadows, and Reflection parameter groups have several additional restrictions. Use the following guidelines when working with lights and reflections: • The Reflection parameter group is not available for 3D particle emitters or 3D replicators. • The Reflection parameter group is not available for normal text layers.
Making Clone Layers In a motion graphics project, sometimes it is necessary to reuse a complex layer in other parts of the project multiple times. Although you can duplicate or cut and paste any layer, if you update the original, none of the changes you make are applied to the copies. Keeping track of these changes can become a tedious and difficult management task.
Clone layer layers can be manipulated in the Canvas and Timeline in exactly the same way as the source layer. Important: A clone layer created from retimed layers cannot have its Frame Blending parameter changed from that of the source layer. Editing Opacity and Blending Parameters The opacity and blending controls for each layer appear in the Properties Inspector and in the default HUD for any selected layer.
Blend Modes While the Opacity parameter defines a uniform level of transparency for a layer, the blend modes allow you many more creative options to control how the overlapping images interact, based on the colors in each layer. By default, each layer’s blend mode is set to Normal, so changes to a layer’s opacity uniformly affect every part of the image equally. Blend modes can create transparency in a layer regardless of the setting of its Opacity parameter.
Blend modes only affect the combination of a layer with the layers below it. Any layers appearing above have no effect on this interaction, even if the layer is transparent. In the following example, the text layers on the top level have no effect on the blended images below. For overlapping layers with different blend modes, the bottommost pair of layers is combined first, and that combination then interacts with the next layer up, and so on until all overlapping layers are combined for the final image.
Preserve Opacity Option The Preserve Opacity checkbox in the Properties Inspector allows you to limit a layer’s visibility to areas of the Canvas where the layer overlaps nontransparent regions of other layers. For example, you might place two overlapping layers into your project, as shown below: If you select Preserve Opacity for the Dolphin layer in front, the result is this: The only area of the Dolphin layer visible is the area that overlaps the sea life picture layer behind it.
Preserve Opacity is an easy way to selectively reveal part of a layer. In this example, by setting the blend mode of the top color wash layer to Exclusion, you get the resulting image: By selecting the Preserve Opacity checkbox for the color wash layer on top, only the overlapping parts are displayed, and the superimposed image only affects the Dolphin layer.
The effect that each blend mode has on overlapping layers depends on the range of color values in each layer. The red, green, and blue channels in each overlapping pixel are mathematically combined to yield the final image. These value ranges can be described as blacks, midrange values, or whites. These regions are loosely illustrated by the chart below.
With the enclosing group set to Pass Through, the Swirls layer stencils all other layers underneath it, including the Gradient layer in the bottom group. The result is that all layers are stenciled against the background color. The Fishes layer is likewise added to the combined stack of layers. Normal When a group is set to Normal, the layers nested in that group can only be blended with one another. Layers nested in that group do not blend with layers in other groups beneath it in the Layers list.
The Gradient layer in the bottom group is left unaffected, although the transparency in the top group caused by the combination of the Add and Stencil Luma blend modes reveals it in the background. Other Blend Modes When you set a group to an available blend mode, each layer nested in that group is blended according to its blend mode. The resulting image is then blended with the groups underneath, according to the selected blend mode for that group. In this example, the topmost group is set to Multiply.
About the Examples in This Section Most of the examples in this section are created using the following two reference images. The resulting “Mondrian Monkey” illustrates how differently the color values from each image interact when using each blend mode. When examining the results, pay attention to the white and black areas of the colored squares, as well as the highlights and shadows in the monkey. These show you how each blend mode treats the whites and blacks in an image.
The order of two layers affected by the Subtract blend mode is important. Boxes object on top Monkey object on top Darken Darken emphasizes the darkest parts of each overlapping image. Whites in either image allow the overlapping image to show through completely. Lighter midrange color values become increasingly translucent in favor of the overlapping image, while darker midrange color values below that threshold remain solid, retaining more detail.
Multiply Like Darken, Multiply emphasizes the darkest parts of each overlapping image, except that midrange color values from both images are mixed together more evenly. Progressively lighter regions of overlapping images become increasingly translucent, allowing whichever image is darker to show through. Whites in either image allow the overlapping image to show through completely. Blacks from both images are preserved in the resulting image.
The order of two layers affected by the Color Burn blend mode is important. Boxes object on top Monkey object on top Linear Burn Similar to Multiply, except that darker overlapping midrange color values are intensified, like Color Burn. Progressively lighter color values in overlapping images become increasingly translucent, allowing darker colors to show through. Whites in either image allow the overlapping image to show through completely.
The order of two layers affected by the Add blend mode does not matter. Suggested uses: The Add blend mode is useful for using one image to selectively texturize another, based on its lighter areas such as highlights. You can also use Lighten, Screen, Color Dodge, and Linear Dodge to create variations of this effect. Lighten Lighten emphasizes the lightest parts of each overlapping image.
Blacks in either image allow the overlapping image to show through completely. Darker midrange values underneath a specific threshold allow more of the overlapping image to show. Whites from both images show through in the resulting image. The order of two layers affected by the Screen blend mode does not matter. Suggested uses: The Screen blend mode is useful for knocking out the blacks behind a foreground subject, instead of using a Luma Key.
Reversing the two overlapping images results in subtle differences in how the overlapping midrange color values are mixed together. Boxes object on top Monkey object on top Linear Dodge Similar to Screen, except that lighter midrange color values in overlapping regions become intensified. Blacks in either image allow the overlapping image to show through completely. Whites from both images show through in the resulting image.
The order of two layers affected by the Overlay blend mode is important. Boxes object on top Monkey object on top Suggested uses: The Overlay blend mode is useful for combining areas of vivid color in two images. Soft Light Soft Light is similar to the Overlay blend mode. Whites and blacks in the foreground image become translucent, but interact with the color values of the background image. Whites and blacks in the background image replace the foreground image.
Suggested uses: The Soft Light blend mode is useful for softly tinting a background image by mixing it with the colors in a foreground image. Hard Light Whites and blacks in the foreground image block the background image. Whites and blacks in the background image interact with overlapping midrange color values in the foreground image. Overlapping midrange color values are mixed together differently depending on the brightness of the background color values.
Overlapping midrange color values are mixed together differently depending on the brightness of the background color values. Lighter midrange values become washed out, while the contrast of darker midrange color values is increased. The overall effect is more pronounced than with the Hard Light blend mode. Reversing the two overlapping images results in subtle differences in how the overlapping midrange color values are mixed together.
Pin Light Pin Light is similar to the Hard Light blend mode, except that overlapping midrange color values are mixed together differently based on their color value. Whites and blacks in the foreground image block the background image. Whites and blacks in the background image interact with overlapping midrange color values in the foreground image. The methods used by the Pin Light blend mode to mix two images are somewhat complex.
Although the order of two layers doesn’t affect the overall look of two images blended using the Hard Mix blend mode, there might be subtle differences. Difference Similar to the Subtract blend mode, except that areas of the image that would be severely darkened by the Subtract blend mode are colorized differently. The order of two layers affected by the Difference blend mode does not matter. Exclusion Similar to the Difference blend mode, except that the resulting image is lighter overall.
The order of two layers affected by the Exclusion blend mode does not matter. Blend Modes That Manipulate Alpha Channels The Stencil and Silhouette blend modes let you use a single layer’s alpha channel or luma values to isolate regions of background layers and groups. Note: Similar effects can be accomplished using shape and image masks. In addition, masks might provide you with a greater degree of control, depending on your needs. For more information, see Using Shapes, Masks, and Paint Strokes.
Limiting the Effect of Stencil and Silhouette Blend Modes When you use the Stencil or Silhouette blend modes in a group set to the Pass Through blend mode, the resulting effect carries down through every layer in every group that lies underneath it in the Layers list, unless the group that contains it is rasterized. This is a powerful, but not always desired effect, because it prevents you from placing a background group to fill the transparent area.
Silhouette Alpha Silhouette Alpha is the reverse of the Stencil Alpha blend mode and is useful for cutting holes in layers underneath. Object used for silhouette Object underneath End result Silhouette Luma Silhouette Luma is the reverse of Stencil Luma. Behind The Behind blend mode forces the layer to appear behind all other layers and groups, regardless of its position in the Layers list and Timeline.
Drop Shadows A drop shadow, by default, is a dark, translucent, offset shape that falls behind a layer, as if a light were shining on the layer. Drop shadows are the same size as the layer to which they’re applied, although blurring a drop shadow might enlarge it somewhat. Drop shadows create the illusion of depth, so the foreground layer seems to pop out at the viewer. For this reason, drop shadows are frequently used to create the impression of space between two overlapping layers.
Adjusting Drop Shadows in the Canvas You can interactively modify a layer’s drop shadow using the onscreen controls. The Drop Shadow Tool Selecting the Drop Shadow tool in the toolbar activates onscreen controls for selected layers with active drop shadows. Drop Shadow blur handles Drop Shadow position bounding box Four handles at each corner allow you to increase or decrease the blur of the drop shadow.
Distance: A slider that sets how close or far a layer’s drop shadow is to the layer. The farther away a drop shadow is, the more distance there appears to be between the layer and anything behind it in the composition. Angle: A dial that lets you change the direction of the drop shadow. Changing the Angle of the drop shadow changes the apparent direction of the light casting the shadow.
This parameter appears only when Time Remap is set to Constant Speed. Retime Value: Displays the time value of the clip at a given frame. When you set Time Remap to Variable Speed, two keyframes are generated at the first and last frame of the clip. The two default keyframes represent 100% constant speed. Adding keyframes to this parameter and assigning them different Retime Values makes the speed of the clip ramp from one speed to another.
If you play back the project before the analysis is complete, the clip will appear as if Frame Blending is set to None. When the analysis is complete, the indicator disappears, and the clip will play back properly. You can view more detailed information about the clip analysis and stop the process before it is finished. You can perform optical flow analysis on multiple clips simultaneously. The clips are processed in the order—the first clip you apply optical flow to is processed first, and so on.
To display more information about ongoing clip analysis Do one of the following: µ µ Choose Window > Show Task List. Click the analysis indicator (in the lower-left corner of the Canvas (beside the Play/Mute audio button). Analysis indicator The Background Task List window appears. Click to pause The Background Task List shows all processes Motion is working on in the background. Each task is labeled, has a progress bar, and displays text describing how far along the task is.
µ To reorder clip analysis In the Background Task List window, drag the clip to analyze to the top of the list. Analysis begins on the repositioned clip, and the clip previously being processed is paused. µ To have Motion close the Background Task List window when analysis is complete In the Background Task List dialog, select the “Close when tasks are complete” checkbox. Expose Commands Motion’s expose key commands provide a way of viewing multiple layers at once, exploding and rescaling them.
Exposing All Layers Using the Expose All Layers key command, you can get a visual sense of all elements in your project and select an element to manipulate. To expose all layers in your project 1 Click anywhere in the Canvas. 2 Press Shift-X. Layers in the project temporarily scale down and spread out over the Canvas. Each layer in the project is represented by a white frame in the Canvas. Moving the pointer over a frame shows the layer’s name. After Expose command Before 3 Select the layer to work on.
Using the Timeline 8 The Timeline, one of the most flexible and valuable elements of the Motion interface, is where you control all timing aspects of the project. Whether you want to line up multiple objects to begin or end together, lengthen or shorten an object, or change which portion of a clip is used, the Timeline provides the tools you need. You can organize your objects to begin and end on the frames you choose. You can also align multiple effects so they occur simultaneously.
About the Timeline The Timeline is located under the toolbar in the area of the Motion interface known as the Timing pane. In addition to the Timeline, the Timing pane contains two related partitions that can be shown or hidden: the Audio Timeline and the Keyframe Editor (for more information, see Working with Audio Tracks and Animating in the Keyframe Editor). The Timeline itself consists of two areas: the Timeline layers list on the left and a track area on the right.
Note: To collapse the entire Timing pane (Timeline, Audio Timeline, and Keyframe Editor), make sure that all three buttons in the lower-right corner of the Motion project window are dimmed. Timeline Tracks Each object in your project appears as a colored bar in the track area of the Timeline. Tracks are arranged in a hierarchy identical to that of the Layers list in the Project pane. This allows you to see each object’s place in time, as well as its relative position and duration.
When you select an object in the Timeline, its bar becomes highlighted. When the Timeline is in Filmstrip mode, the filmstrip frames are highlighted with a white border. See Customizing the Track Display for more information on how to set Timeline view modes. Displaying the Timing Pane on a Second Monitor You can show the Timeline on a second display, providing a larger workspace for manipulating the timing of objects. For more information, see Viewing the Canvas or Timing Pane on a Second Display.
Although Motion allows you to rename objects you import from your disk, changing the object’s name in the Timeline layers list does not modify the name of the file on disk. This allows you to use one source clip multiple times and name each instance uniquely inside Motion. Enabling Timeline Tracks To the left of each track in the Timeline layers list is an activation checkbox that turns that track on and off. When a track is turned off (disabled), it is ignored in the Canvas.
Locking Timeline Tracks Occasionally, you might want to prevent changes to an item. The lock icon at the right edge of the Timeline layers list allows you to lock an object and prevent any changes from affecting that object. An object that is locked in the Timeline also appears locked in the Layers list in the Project pane. Lock icon Hash marks indicate track is locked. When an item is locked, the colored bar in the track area appears with a hash-mark pattern.
A red slash appears over the link for all linked layers. Red slash indicates link is broken. 2 Move, trim, or slip the audio or video bar. Before After The link icon also appears in the Layers list and the Audio list of the Project pane. Timeline View Options Various controls affect the view of the Timeline. The first three appear in the upper-right corner of the Timeline layers list.
Zooming in the Timeline You can zoom in and out in the Timeline using the zoom/scroll control or the zoom slider. (If you use a Multi-Touch trackpad, you can pinch open to zoom in and pinch closed to zoom out.) Each method lets you zoom in and out of the Timeline horizontally, showing more or less time in the track area. As you zoom in, you can see greater detail, which lets you place objects with greater precision.
To adjust the height of the tracks Do one of the following: µ Drag a row separator between two layers in the Timeline layers list up or down to modify the vertical size of the tracks. µ Choose a new size from the pop-up menu at the bottom of the Timeline layers list. Options include Mini, Small, Medium, and Large. Customizing the Track Display Motion offers several different ways to display object bars in the track area of the Timeline.
Library effects (behaviors, filters, and so on) can also be dragged into the Timeline layers list. However, because effects objects are applied to media layers (images, video, audio, and so on), they cannot be grouped by themselves. Note: You can also drag images and clips to the Timeline track area. For more information, see Adding Layers to the Track Area. To add a layer to a group 1 Drag an item from the File Browser, Library, or Media list, and position the pointer over the Timeline layers list.
Managing Track Order The Timeline layers list provides you with the tools to control layer order. In 2D groups, the topmost track in the list appears on top of other layers in the Canvas. You might need to rearrange the order of objects in your project to get the effects you want. To rearrange layers in a group 1 In the Timeline layers list, drag the layer icon you want to move to a new position between the other tracks.
3 Drag the layer to the desired location in the group, then release the mouse button. Nesting Groups and Layers To help organize large groups of layers or to create some kinds of special effects, you can place one group inside of another. This gives you the flexibility to create a group containing multiple layers and effects, and then treat that entire group as a single layer in another group.
To delete a group, layer, or effects object track 1 Select the group, layer, or effects object in the Timeline layers list. 2 Press Delete. You can also Control-click an object, then choose Delete from the shortcut menu. All of the operations just described can also be performed with multiple tracks. For example, rather than just moving one object from Group 1 to Group 3, you can select two or three objects in Group 1 and move them all at once.
Note: Objects such as cameras and lights that are saved to the Library can also be dragged to the Timeline. If you are dropping multiple items, you can choose Composite or Sequential from the drop menu. Composite places the new tracks one on top of the other. Sequential places the new tracks one after the other. Note: If you release the mouse button before the drop menu appears, the default choice of Composite is applied.
Insert When you choose Insert from the drop menu, Motion leaves the existing layer in its track, but pushes it forward in time to make room for the new layer. For example, if you insert a five-frame movie into a group containing an existing layer, the new movie is added to the Timeline at the frame where you drop it, pushing the remaining frames of the original movie out five frames.
Overwrite The Overwrite drop menu option deletes the existing layer, overwriting it with your new layer. Before After Overwrite edit If the new layer is shorter than the one currently in the group, the Overwrite option splits the duration of the existing layer and deletes only the frames where the new layer appears. Before After Overwrite edit with shorter clip To overwrite a layer 1 Drag an item from the File Browser, Library, or Media list into the Timeline track area.
For example, if you drag a 30-second clip over a 5-second clip, choosing Exchange swaps the existing 5 seconds with the first 5 seconds of the longer clip. If you exchange a longer clip with a shorter one—for example, swapping a 10-second clip with one that lasts only 5 seconds—the first 5 seconds are replaced, and the final 5 seconds of the original remain. Important: The exchange edit transfers any filters, behaviors, and keyframes from the original layer onto the new layer.
Adding Multiple Clips to the Timeline Track Area When you drag more than one item to the Timeline, the new layers appear in their own tracks above any existing layers. This is equivalent to performing a composite edit with a single object. A drop menu lets you choose whether the additional layers should be stacked up as a composite, or whether they should appear one after another (sequentially).
2 Drag to the frame where you want the new layers to start, holding down the mouse button until the drop menu appears. 3 Choose Sequential from the drop menu. The multiple layers are edited into the project, one after another, each on its own track. Setting Drag and Drop Preferences You can set preferences that specify where an item is dropped when you add it to the Timeline Layers list or Canvas. You can choose between items appearing at the start of the project or at the current playhead position.
Motion uses the terms move, trim, and slip to describe the different ways of editing Timeline objects. • Move: Changes the location of an object without affecting its content or duration. • Trim: Changes the duration of an object without affecting its location or content. • Slip: Changes the content of an object without affecting its location or duration. Moving Objects Move an object when you want it to begin and end at a different point in the Timeline.
To move an object bar to a specific frame 1 In the Timeline, select the object bar (or bars) to move, then type the number of the frame (or timecode) where you want to move the object. A value field appears, displaying the number you typed. Type a number and a window appears. 2 Press Return. The object bar’s In point moves to the specified frame number. If you selected more than one object bar, they all move to the specified frame number.
Note: Video and audio objects cannot be trimmed to be longer than the duration of their source media. To extend a video or audio object bar beyond the duration of its source media, you must change the object’s End Condition to Loop, Ping Pong, or Hold in the object’s Properties Inspector. This limitation does not apply to other objects, such as still images, cameras, text, and shapes, all of which you can extend without restriction.
To change an object bar’s In or Out point 1 Select the object bar to trim. 2 Place the playhead at the frame where you want the new In or Out point. 3 Choose Mark > Mark In (or press I) to set a new In point or choose Mark > Mark Out (or press O) to set a new Out point. To trim multiple objects at the same time 1 Select the object bars to trim. 2 Place the playhead at the In or Out position you want. 3 Choose Mark > Mark In (or press I) or Mark > Mark Out (or press O) to set a new In or Out point.
The pointer turns into the slip pointer. 2 Drag the middle part of the bar left or right. Dragging to the left replaces the frames with a section from later in the source material, while dragging to the right uses frames from earlier in the clip. Splitting Tracks Occasionally you might want to divide a single object into multiple objects, each in its own Timeline track. You might do this if you want an effect to apply to one portion of an object but not to another part.
Deleting Objects Removing objects from your project can be just as important as adding them. Motion provides three ways to remove an object from the Timeline. • Delete: Removes the object, leaving a gap in the Timeline. Before After Delete • Ripple Delete: Removes the object and closes up the gap left behind. Before After Ripple Delete • Cut: Deletes the object, leaving a gap in the Timeline, and copies the object to the Clipboard for later pasting. To delete an object 1 Select the object to delete.
When you paste an object, it is placed at either the position of the playhead or at the beginning of the project, based on the Create Layers At setting in the Project pane of the Motion Preferences. For more information, see Project Pane. For the purposes of simplicity, the remainder of this section assumes you have set the Create Layers At to Current Frame. The pasted object is placed in a new track at the top of the other layers in the active group.
The Paste Special dialog appears. 4 Select “Insert into time region.” 5 Click OK to confirm your edit. The object is inserted into the selected region, pushing any existing objects to the right. To paste an object as an overwrite edit 1 Select the group to paste the object into. 2 Position the playhead at the desired time position. 3 Choose Edit > Paste Special (or press Command-Option-V). The Paste Special dialog appears. 4 Select “Overwrite into time region.” 5 Click OK to confirm your edit.
Note: Don’t confuse the Show/Hide Keyframes button with the Show/Hide Keyframe Editor button, located in the bottom-right corner of the Motion project window. The former turns the display of keyframes in the Timeline track area on and off; the latter expands and collapses the Keyframe Editor in the Timing pane. When the Show/Hide Keyframes button turns blue, keyframes appear below the object bars in the track area. µ To move a keyframe’s position in time Drag the keyframe to the left or right.
By default, a 60-frame video clip played back at 30 frames per second takes two seconds to display its 60 frames. If its In point is frame 1, its Out point is frame 60. Speed and duration are interdependent; that is, if you increase the a clip’s playback speed, its duration decreases. Playing back the same clip at 15 frames per second would take twice as long; the clip’s In point remains the same, but its Out point becomes 120. For more detailed information about retiming, see Retiming.
2 Drag the Out point of the bar to the right. First loop barrier As you drag, the tooltip displays the clip’s Out point, total Duration, and Loop Duration. A looped object displays barriers to indicate where loops begin and end in the Timeline. The first loop barrier in a clip’s bar is interactive. Moving the barrier changes the point where the clip loops. µ To change the loop point of a clip Drag the first loop barrier left or right. The end point of the clip’s loop moves as you drag.
To move a single object in a group 1 Click an area of the lower group bar where a single object is visible. That object is highlighted in the group track. 2 Drag the section left or right to move the object in the group forward or backward in time. The selected object moves in time. µ To move overlapping (composited) objects in a group Drag an area of the lower group bar where multiple objects overlap. The composited objects move in time.
Only the upper group bar is trimmed. Note: After you manually change the length of the upper group bar, it is no longer updated when you add or modify the objects to the group. To restore automatic updating, realign the edges of the upper group bar with the edges of the first and last clips in the group. You can use this same technique on image and video object bars, trimming them without affecting the duration of their subobjects (masks, filters, or other applied effects objects).
Working in the Ruler You can perform several types of functions using the ruler area of the Timeline. You can move the playhead to a specific frame to view the project at a specific time. You can also set In and Out points so playback occurs only within the specified frames. In addition, you can select a range of frames, so you can delete, cut, or paste into the selected frames. In point Out point Playhead Navigating in the Timeline Motion provides many controls for navigating the Timeline.
µ To move forward a specific number of frames Type a plus sign (+), then type the number of frames to move forward. Important: When the Timeline is active and an object is selected, typing a number and pressing Return moves the selected object, rather than the playhead. µ To move backward a specific number of frames Type a minus sign (–), then type the number of frames to move backward.
To jump to the beginning of the project Do one of the following: µ µ µ Click the “Go to start of project” button in the transport controls. Choose Mark > Go to > Project Start. Press Home. To jump to the end of the project Do one of the following: µ µ µ Click the “Go to end of project” button in the transport controls. Choose Mark > Go to > Project End. Press End. To jump to the next keyframe Do one of the following: µ µ With an animated object selected, press Shift-K.
Defining the Play Range Ordinarily, clicking the Play button plays your project from the first frame until the last. However, you can change the play range of your project by modifying the In and Out points in the Timeline ruler. You might do this to focus on a specific section as you fine-tune your project or make other changes to it. When you finish, reset the In and Out points to the beginning and end of your project.
Working with Regions Sometimes you might want to make changes to a range of frames, known as a region. You might do this to cut or copy a section of time to remove it or move it to a new position in your project. Regions need not align with object edges in the Timeline. You can create a region that begins midway through an object or one that includes empty frames beyond the edges of objects. µ To select a range of frames Holding down the Command and Option keys, drag in the Timeline ruler.
µ To deselect tracks from a selection range Command-click the track to deselect. After you define a region, you can delete or ripple delete it. When you choose Ripple Delete (choose Edit > Ripple Delete), the region is deleted, and the resulting gap closes. You can cut or copy the region to move it to the Clipboard so you can paste it somewhere else. Note: Pasting a region does not paste at the current playhead location.
Inserting Time You can select a region to add blank playback time into your project (which will appear black in the Canvas). For example, you might want to add some black frames between two objects, or add frames in as a placeholder for a clip you don’t yet have. This is called inserting time. To insert time into a project 1 Holding down the Command and Option keys, drag in the ruler. Drag as wide an area as you want to insert. 2 Choose Edit > Insert Time.
µ With the timing display set to show project duration, drag left or right over the number to decrease or increase the duration. µ Choose Edit > Project Properties (or press Command-J), then change the value of the Duration field in the Properties Inspector. Note: Click the downward arrow to the right of the numbers in the timing display and choose Show Frames or Show Timecode to switch between viewing the project duration in frames or timecode.
To add a project marker 1 Place the playhead at the frame where you want the marker. 2 Ensure that no objects are selected, then do one of the following: • Choose Mark > Markers > Add Marker. • Press M. • Shift-click the Timeline ruler. • Control-click Timeline ruler, then choose Add Marker from the shortcut menu. A green marker is added in the Timeline ruler. Note: You can also press Shift-M to add a project marker at the playhead position, even if an object is selected.
Deleting All Markers In addition to deleting a single marker, you can delete all markers from your project in one step. You can choose to delete all project markers or all object markers in a selected object. To delete all project markers only 1 Choose Edit > Deselect All (or press Command-Shift-A). 2 Choose Mark > Markers > Delete All Markers.
Text added to the Name field for project markers appears when the pointer is over the marker. 3 Enter a value or drag in the Start field. The marker moves to the frame number you enter (or timecode number, if the timing display is set to show timecode). 4 Enter a value or drag in the Duration field to specify the range of frames (or timecode) for the marker. 5 Enter text in the Comment field. This comment appears as a tooltip when you pause the pointer over project markers.
You can also navigate to adjacent markers via the Edit Marker dialog. In that case, the dialog remains open and the contents are replaced with the information for the next marker. Go to previous marker Go to next marker Mini-Timeline The mini-Timeline lies just above the transport controls and below the Canvas. This control provides an at-a-glance look at where selected objects fit into your overall project.
You can also add multiple objects to the mini-Timeline at once. You can choose to add the objects sequentially (one after another) or as a composite (all at the same point in time). Tip: If the Timeline contains project markers, you can snap the imported object to a marker. Drag the imported item over the mini-Timeline, then release the mouse button when a black bar appears at the snap point. The layer’s In point is aligned to the project marker.
The pointer changes to a trim pointer. 3 Drag the edge of the bar to change its duration. A tooltip appears to indicate the new In or Out point and the amount of change that your edit is causing. You cannot trim an object to be longer than the amount of frames available in the corresponding media file unless its End Condition is set to Hold, Loop, or Ping Pong in the Timing controls of the Properties Inspector.
Using Behaviors 9 Behaviors are sophisticated animation and simulation effects that you can apply to your project and adjust using a simple set of graphical controls. Behaviors can be used to create basic motion effects or complex simulated interactions between multiple objects. You can add behaviors to objects (cameras, lights, image layers, or groups) or properties in a project to create animated effects without needing to create or adjust keyframes.
Behaviors can also be used to animate the parameters of nearly any particle system emitter, shape, mask, replicator, filter, generator, camera, or light. This allows you to create animated backgrounds, dynamic filter effects, interesting camera and lighting effects, and incredibly complex particle systems, all using a few simple controls. Motion Tracking behaviors serve a different purpose than other behaviors.
• Particles behaviors are specifically designed to be applied to a particle emitter or cells in particle systems. These behaviors affect how individual particles are animated over the duration of their life. For more information, see Using Particles Behaviors. • Replicator behaviors are specifically designed to be applied to a replicator or cells in the replicator. These behaviors affect how the replicator cell parameters are animated over their pattern.
Behaviors Versus Keyframes It’s important to understand that behaviors do not add keyframes to the objects or parameters to which they’re applied. Instead, behaviors generate a range of values that are then applied to an object’s parameters, animating over the duration of the behavior. Changing the parameters of a behavior alters the range of values that behavior generates. Keyframes apply specific values to a parameter.
Browsing for Behaviors All available behaviors appear in the Library. Selecting the Behaviors category in the category pane of the sidebar reveals the behavior subcategories (text behaviors have two categories). Library categories Behavior subcategories Behaviors in the selected subcategory Selecting a subcategory reveals all behaviors of that type in the Library stack.
When you select a behavior in the Library stack, a short description and preview of the behavior appear in the preview area. Note: To help you understand how each behavior works, the animated behavior previews provide hints in the form of animation paths and color coding. Although most previews are self-explanatory, the Parameter previews show before/after examples of the behavior’s effect on an animated object, with the gear graphic turning red to show the object after the behavior takes effect.
Where Behaviors Appear When you apply a behavior to an object, it appears nested underneath that object in the Layers list and in the Timeline. Behavior icon Nested behavior as it appears in the Layers list A behavior icon (a gear) also appears to the right of the object name in the Layers list and Timeline. Clicking this icon enables and disables all behaviors applied to that object. The actual parameters that let you adjust the attributes of a behavior appear in the Behaviors Inspector.
Behavior Effects in the Keyframe Editor If you open the Keyframe Editor and look at a parameter affected by a behavior, you see a noneditable curve that represents the behavior’s effect on that parameter. The noneditable curve (in this example, opacity channel animation that corresponds to the Fade In/Fade Out behavior) appears in addition to that parameter’s editable curve, which can be used in combination to keyframe that parameter.
Tip: If you do not see the expected result when applying behaviors to objects, try turning the Affect Subobjects parameter on or off or choosing a different option from the Affect pop-up menu. These parameters determine whether the entire group or its components (such as the child objects nested in that group) are affected by the behavior and how an object interacts with surrounding objects, respectively.
2 Do one of the following: • In the toolbar, choose a behavior from the Add Behavior pop-up menu. • Select a behavior in the Library, then click Apply in the preview area. Important: Not all behaviors apply motion to an object. Some behaviors, such as Throw, require you to set the throw velocity (in the HUD or in the Inspector) before the object is “thrown.” Other behaviors, such as Orbit Around, require a source object to act as the central object for other objects to move around.
Here’s a simple comparison of a behavior and a Parameter behavior. A Throw behavior is applied to a text layer and the text travels across the Canvas. The Throw behavior affects the Position parameter of the text layer. You can accomplish a similar effect by applying a Ramp parameter behavior to the Position parameter, but the Ramp behavior can also be applied to any other parameter such as Tracking or Opacity. A Parameter behavior’s effect on an object depends on the parameter to which it is applied.
The behavior is applied to the object, but no parameter is assigned to the behavior. 2 To assign a specific parameter to the Parameter behavior, do one of the following: • Select the Parameter behavior, then choose a parameter from the Apply To pop-up menu in the HUD. • Select the Parameter behavior, then choose a Parameter behavior from the Apply To pop-up menu in the Behaviors Inspector. The parameter to which the behavior is applied appears in the Apply To text field.
As with all other behaviors, when a Parameter behavior is applied to an object in your project, a behavior icon (a gear) appears over the Keyframe button of the affected parameter in the Properties, Behaviors, or Filters Inspector where it is applied. Reassigning a Parameter Behavior to Another Parameter After you apply a Parameter behavior, it remains assigned to that parameter unless you reassign it.
Modifying Parameters in the HUD In general, the parameters that appear in the HUD are the most essential for modifying that behavior’s effect. Frequently, the controls available in a behavior’s HUD are also more descriptive and easier to use than those in the Behaviors Inspector, although the Behaviors Inspector might contain more controls.
To cycle through the HUDs of an object Do one of the following: µ Click the disclosure triangle in the title bar of the HUD (to the right of the title) to open a pop-up menu that displays all behaviors and filters applied to that object. Choose an item from this list to display its HUD. Click to open pop-up menu listing other applied behaviors. µ Select an object in the Canvas, then press D to cycle forward through all available HUDs for that object. To cycle in reverse, press Shift-D.
Working with Behaviors This section describes how to enable, rename, lock, duplicate, move, and reorganize behaviors in your project. These procedures apply to every type of behavior. Behaviors Controls in the Layers List and Timeline When you apply a behavior to an object, the behavior appears in three places—the Layers list, the Timeline, and the Behaviors Inspector.
Copying, Pasting, and Moving Behaviors After you have added behaviors to an object, there are a number of ways you can copy and move them among the other items in the Timeline or Layers list. Behaviors can be cut, copied, and pasted like any other item in Motion. When you cut or copy a behavior in the Timeline or Layers list, you also copy the current states of that behavior’s parameters. To cut or copy a behavior 1 Select a behavior.
Note: If you move a Parameter behavior to another object, it is applied to the same parameter it affected in the previous object—as long as the corresponding parameter exists. If the parameter does not exist, the parameter assignment (Apply To field) is set to none. Dragging a behavior from one object to another You can also duplicate a behavior in place. To duplicate a behavior 1 Select the behavior to duplicate. 2 Do one of the following: • Choose Edit > Duplicate (or press Command-D).
In general, each behavior applies a value to a specific parameter. The values generated by all behaviors that affect the same parameters are combined to create the end result. For example, if you apply the Throw, Spin, and Gravity behaviors to a single object, the Throw and Gravity behaviors combine to affect the position of the object. The Spin behavior affects the rotation of the object.
• When you animate a layer with a behavior and then apply a Simulation behavior, the Simulation behavior is evaluated before the first behavior (and might have no effect). For example, if you animate the Rotation parameter of a layer using the Oscillate (Parameter) behavior and then apply a Rotational Drag (Simulation) behavior to the layer, the layer oscillates, but is not slowed by the Rotational Drag behavior.
A position indicator shows where the behavior appears when you release the mouse button. Position indicator shows where you are moving the behavior. 2 When the position indicator is in the correct position, release the mouse button. Note: Motion has a specific order of operations for keyframes and behaviors. For more information, see Behavior Order of Operations. Changing the Timing of Behaviors You can change a behavior’s timing to control when it starts, how long it lasts, and when it stops.
If the behavior was applied to one dimension of a multidimensional parameter, open that parameter’s disclosure triangle and Control-click the dimensional parameter to access the same shortcut menu, then choose Stop. The parameter is animated until the frame where the Stop behavior begins. Note: When applied in this manner, the Stop behavior takes effect at the current frame (regardless of the Create Layers At Preference setting).
• Drag the Out point to end the behavior’s effect before the end of the object. Trimming the Out point of a behavior often sets the object to its original state beyond the Out point behavior. For many behaviors, using the Stop behavior to pause the object’s animation is a more efficient method than trimming its Out point. Another way to stop a behavior’s effect and leave the affected object in the transformed state is to adjust a behavior’s Start and End Offset parameters.
In the following image, the Orbit Around (Simulation) behavior is applied to the large circle. The center text is assigned as the object that the circle moves around. The red animation path represents the motion the circle travels over its duration. The Orbit Around behavior is the same duration (300 frames) as the large circle to which it is applied. In the next image, the Orbit Around behavior is trimmed in the Timeline to a shorter duration (190 frames) than the object to which it is applied.
As you move the bar, a tooltip appears and displays the new In and Out points for the behavior. The tooltip also displays the delta value, which shows the number of frames you have moved the bar. Changing the Offset of Parameter Behaviors Many Parameter behaviors have two additional parameters, Start Offset and End Offset, which are used to change the frame where a Parameter behavior’s effect begins and ends.
Combining Behaviors with Keyframes Any object can have behaviors and keyframes applied to it simultaneously. When this happens, the values generated by the behavior and the keyframed values applied to the parameter are combined to yield the final value for that parameter. This lets you combine the automatic convenience of behaviors with the direct control of keyframing to achieve your final result. Note: Motion has a specific order of operations for keyframes and behaviors.
Combining Behaviors and Keyframes in the Keyframe Editor When you display a parameter that’s affected by a behavior in the Keyframe Editor, two curves appear for that parameter. A noneditable curve in the background displays the parameter as it is affected by the behavior. There are no keyframes over this first curve. Superimposed over the curve displaying the behavior’s effect is the parameter’s editable curve. You can keyframe a parameter before or after applying a behavior to the object that affects it.
The following screenshot shows the result of converting the behavior and keyframes in the previous example to a single keyframed channel that recreates the same motion, but in an editable fashion. For more information on converting behaviors into keyframes, see Converting Behaviors to Keyframes. Animating Behavior Parameters You can animate most behavior parameters to change the parameter’s effect over time.
Keyframing Behaviors If you need more control when animating a behavior’s parameters, you can use keyframes. For example, you can keyframe the Speed parameter of the Oscillate parameter behavior to increase the rate of oscillation over time, creating a more complex animation path without that much work. Default Oscillate Parameter behavior Oscillate Parameter behavior with keyframed Speed parameter For more information about keyframing parameters, see Animating Behaviors.
If a behavior (or an object with applied behaviors) can be baked, the Convert to Keyframes command appears in the Object menu when the behavior or object is selected. If the Convert to Keyframes command is dimmed, keyframes cannot be generated from the behavior. To convert behaviors to keyframes 1 Do one of the following: • Select an object that has behaviors to convert. • In the Inspector, select a behavior to convert. 2 Choose Object > Convert to Keyframes (or press Command-K).
Behaviors saved to the Favorites Menu category can be applied to objects using the Favorites menu. You can also create new folders in existing categories. You can create a folder in the Favorites or Behaviors category. Folders created in the Behaviors category appear in the Library sidebar. Folders created in the subcategories, such as the Basic Motion subcategory, appear in the Library stack and not the sidebar.
2 Do one of the following: • Click the New Folder button (+) at the bottom of the window. • Control-click an empty area of the Library stack (the lower section of the Library), then choose New Folder from the shortcut menu. Note: You might have to expand your stack window or use icon view to access an empty area. An untitled folder appears in the subcategories list in the Library sidebar. 3 With the new folder selected, click the name, enter a new name, then press Return.
µ To delete a custom folder from a subcategory in the Library stack Control-click the folder in the Library stack, then choose Move to Trash from the shortcut menu. Note: You can also delete the folder from the Finder. The folder is stored in the /Users/username/Library/Application Support/Motion/Library/ folder. Important: Deleting a custom object or folder cannot be undone.
• Grow/Shrink • Motion Path • Move • Point At • Snap Alignment to Motion • Spin • Throw Fade In/Fade Out Lets you dissolve into and out of any object. The Fade In/Fade Out behavior affects the opacity of the object to which it is applied, fading from 0 percent opacity to 100 percent opacity at the beginning of the object, and then back to 0 percent opacity at the end. You can eliminate the fade-in or fade-out effect by setting the duration of either to 0 frames. Note: This behavior is multiplicative.
HUD Controls The HUD lets you control the Fade In and Fade Out durations, equivalent to the Fade In Time and Fade Out Time parameters in the Behaviors Inspector. Drag anywhere in the shaded area of the Fade In or the Fade Out ramp to adjust their durations. Note: Continue dragging beyond the limits of the graphical HUD control to extend the durations of the Fade In or Fade Out.
• Ramp to Final Value: This option grows or shrinks the object from its original size to the specified percentage plus the original scale in the Scale To parameter. If the behavior is shortened in the Timeline, the Grow/Shrink effect goes faster. • Natural Scale: Enabled by default, this option uses an exponential curve to allow the animation to progress slowly when the scale values are small and speed up when the values are large. This creates the illusion that the scaling is occurring at a constant speed.
HUD Controls The Grow/Shrink HUD consists of two rectangular regions. The first, a rectangle with a dotted line, represents the original size of the object. The second is a solid rectangle that represents the relative growth rate, and can be resized by dragging any of the borders. Enlarge the box to grow the target object, or reduce the box to shrink it. A slider to the right lets you adjust the scale of the HUD controls, increasing or decreasing the effect the controls have over the object.
Note: To show or hide the motion path, choose Show Overlays from the View pop-up menu in the status bar. (The Animation Path option shows and hides the animation paths of other behaviors.) When you play the project, the object moves along the assigned path. The speed at which the target object travels is defined by the duration of the behavior.
• Circle: A simplified version of Closed Spline, in which the X radius or Y radius can be adjusted to create a circle or an ellipse. Use the outer control points to resize the circle (or rectangle) motion path’s shape. • Rectangle: A closed path in which the width and the height can be adjusted to create a square or a rectangle.
• B-Spline: B-Splines are manipulated using only points—there are no tangent handles. The points themselves do not lie on the surface of the shape. Instead, each B-Spline control point is offset from the shape’s surface, magnetically pulling that section of the shape toward itself to create a curve. B-Splines are extremely smooth—by default, there are no sharp angles in B-Spline shapes, although you can create sharper curves, if necessary.
Damping: When Wave is the defined path shape, this slider progressively diminishes the oscillation of the wave. Positive damping values diminish the wave forward (from left to right); negative values diminish the wave backward (from right to left). The following illustration shows positive damping applied to the wave motion path. Attach to Shape: When Geometry is the defined path shape, this checkbox, when activated, forces the motion path to follow the source shape at its original location.
• Ease Out: The object starts at a steady speed, then slows down as it gradually decelerates to a stop at the last point of the motion path. • Ease Both: The object slowly accelerates from the first point on the motion path, and then slows down as it gradually decelerates to a stop at the last point of the motion path. • Accelerate: The object moves along the path with increasing speed. • Decelerate: The object moves along the path with decreasing speed.
• Ping-Pong: The object moves along the path until it reaches the last point on the path, then it moves backward to the first point on the path. The number of “ping pongs” is defined by the Loops parameter. Control Points: This parameter becomes available when the path shape is Open Spline or Closed Spline. Click the disclosure triangle to display the Position parameters for the motion path control points. The first value field is X, the second value field is Y, and the third value field is Z.
µ To move the object and its motion path Select the object (not the Motion Path behavior), and move the object in the Canvas. Using Geometry for a Motion Path Shape The following section describes how to use geometry as the source for a motion path shape. You can use a shape that is animated with behaviors or keyframes as the source for a motion path.
4 Continue moving the playhead and adding keyframes to obtain the result you want. Note: If you change the Speed parameter to a preset (such as Constant) after creating a custom speed, the custom velocity channel is ignored but remains intact. Adjusting a Motion Path in 3D Space You can adjust a motion path in 3D space. The easiest way to modify a motion path in 3D space is to add a camera to your project and manipulate the path in a modified camera view.
In the following image, the motion path appears flat when viewed from above—the affected object only moves in X and Y space. 3 Drag a control point up or down to adjust the object in Z space. In the following image, the path is no longer flat—the affected object moves in X, Y, and Z space. Note: The motion path onscreen controls are available for all camera views.
To enter specific values for the control point locations, click the Control Points disclosure triangle in the Motion Path behavior parameters. The first value field is X, the second value field is Y, and the third value field is Z. 4 To reset the camera view, do one of the following: • Double-click the 3D View tool that you previously adjusted. For example, if you dragged the Orbit tool to rotate the current camera, double-click the Orbit tool to reset the camera.
In the next illustration, a Move behavior is added to the airplane shape. The destination point of the Move path is positioned in the center of the circle. While the airplane circles around (obeying the Orbit Around behavior), it is also drawn to the center of the target (obeying the Move behavior), creating a spiraling motion path. Tip: The Move behavior is an ideal tool when working in 3D mode, as it allows you to simulate camera movements without using a camera.
• Ease Both: The object slowly accelerates and then slows down as it gradually decelerates to a stop when it reaches the target. • Accelerate: The object moves toward the target with increasing speed. • Decelerate: The object moves toward the target with decreasing speed. Note: To move the object more slowly toward its target, extend the duration of the Move To behavior in the Timeline or mini-Timeline. To move the object faster, shorten the duration of the behavior.
Speed: A pop-up menu that defines the object’s velocity from its position in the Canvas to the position of the target. There are six choices: • Constant: The object moves at a steady speed from its position toward the target. • Ease In: The object starts at a slow speed, then reaches and maintains a steady speed toward the target. • Ease Out: The object starts at a steady speed, then slows down as it gradually decelerates to a stop when it reaches the target.
In the following example, a graphic of an airplane is shown travelling a spiral motion path. On its own, the orientation of the graphic doesn’t change, because only the Position parameter is affected. If you add the Snap Alignment to Motion behavior to the airplane graphic, the Rotation parameter is affected so the graphic points in the direction of motion, without the need for additional keyframing.
End Offset: A slider that allows you to offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. For example, if End Offset is set to 60, the object actively snaps to the direction of the path until 60 frames before the end of behavior in the Timeline.
Spin Rate/Spin To: A dial controlling the speed at which the object spins. When Increment is set to Continuous Rate, the Spin Rate defines a continuous rate of spin in degrees per second. When Increment is set to Ramp to Final Value, Spin To defines a number of degrees to spin over that object’s duration. Negative values result in clockwise motion, while positive values result in counterclockwise motion. Axis: A pop-up menu that allows you to choose whether the object spins about the X, Y, or Z axis.
The following image shows how longitude and latitude relate to the Spin HUD control. Y Latitude Z X Longitude • Latitude/Longitude: Available when Axis is set to Custom (or by dragging the center control of the Spin HUD), these parameters allow you to specify the axis of rotation. HUD Controls The Spin behavior’s HUD controls include an outer ring and an inner control. Drag along the edge of the outer ring to manipulate an arrow that indicates the direction and speed the object spins.
Throw The Throw behavior is the simplest way of setting an object in motion. Controls let you adjust the speed and direction of a single force that’s exerted on the object at the first frame of the behavior. After this initial force is applied, the object continues drifting in a straight line at the same speed, for the duration of the Throw behavior. A simple example of using the Throw behavior is to send a series of offscreen objects moving across the screen.
HUD Controls The 2D HUD lets you specify the direction and speed of the Throw behavior by dragging an arrow in a circular region. The direction of the arrow defines the direction of movement in X and Y space, and the length of the arrow defines speed (velocity). A slider to the right lets you adjust the scale of the HUD control, increasing or decreasing the effect the direction/speed control has over the object.
Note: The maximum speed you can define with the HUD is not the maximum possible speed. Higher values can be entered into the Throw Velocity/Throw Distance parameter in the Behaviors Inspector. Related Behaviors • Motion Path • Gravity • Random Motion • Wind Parameter Behaviors These behaviors can be applied to any object parameter that can be animated, and their effects are limited to just that parameter. The same Parameter behavior can be added to different parameters, resulting in different effects.
• Reverse • Stop • Track • Wriggle Audio This behavior allows you to animate nearly any parameter based on properties of an audio file, such as bass frequency. For example, the Audio parameter behavior can be applied to the Scale parameter of an object so it scales up and down based on the amplitude of the bass, or to the Opacity parameter so it fades in and out to the beat. For more information on using the Audio parameter behavior, see Audio Parameter Behavior.
Clamp This behavior allows you to define a minimum and maximum value for an animated parameter. In the following illustration, the center star has an applied Vortex behavior that’s set to affect the two airplane shapes. As a result, the airplanes circle around the center star, as indicated by the red animation path. In the following illustration, a Clamp behavior is applied to the X Position parameter of the outer airplane shape. The Max value is set to 230 and the Min value is set to 0.
Min: A value slider that lets you define the minimum amount of change for an animated parameter. Max: A value slider that lets you define the maximum amount of change for an animated parameter. The value is represented as a percentage, in pixels, or in degrees, depending on the parameter assignment. For example, if Clamp is applied to the Rotation parameter, the Min and Max values are degrees. If Clamp is applied to the X Position parameter, the values are in pixels.
Remove Parameter: The Remove Parameter pop-up menu lists parameters you’ve added to the current Custom behavior. Choose a parameter from this menu to remove it from the Custom parameter list, along with any keyframes applied to that parameter. HUD Controls There are no HUD controls for this behavior. Adding a Custom Behavior Before adding custom parameters to a Custom behavior, you must apply the Custom behavior to an object in the Canvas.
After you add the parameters to animate in your Custom behavior, you can keyframe them in the Keyframe Editor to create whatever animated effect you require. For more information on keyframing parameters to create animation, see Animating Behaviors. µ To remove a parameter from the Custom parameter list Choose the parameter to remove from the Remove Parameter list. That parameter no longer appears in the Custom parameter list. Any keyframes applied to that parameter are deleted.
End Value: The value the Exponential behavior reaches at the last frame of the behavior. Over the life of the behavior, the parameter the Exponential behavior is applied to makes a transition from the Start Value to the End Value plus the original value. Start Offset: A slider that lets you delay the beginning of the behavior’s effect relative to the first frame of its position in the Timeline. Adjust this parameter to make the behavior start later. The units of this parameter are in frames.
Link The Link parameter behavior forces the value of one parameter to match that of another “linked” parameter. The source behavior can be within the same object or from another object. The linked parameters must contain numerical data. Parameters controlled by checkboxes, menus, and other non-numeric values cannot be linked. The linked parameters also must contain the same number of attributes.
If your goal is to match an identical position across groups with different center points, you can create an invisible dummy object in the group containing the source, link it to the source object, then use the Match Move behavior to copy the dummy object’s position to that of the intended target. Match Move compensates for inter-group position offsets and provides the option to attach one object to another or to mimic the source object’s transformations.
Mix Over Time: Pop-up menu to set how rapidly the source parameter values begin to affect the target parameter. Options include: Ease In, Ease Out, Ease In/Out, Accelerate, Decelerate, Accelerate/Decelerate, and Custom Mix. Mix Time Range: When the Mix Over Time is set to an Ease or Acceleration option, this slider controls over how many frames the ease or acceleration occurs.
• Source value between min and max: When this item is selected, the link applies only when the source value stays within a defined range. If the source value falls below the defined minimum, or exceeds the defined maximum, the link behavior stops. When selected, the Clamp Source Values Within Range checkbox as well as offset, minimum, and maximum sliders for each setting associated with the source parameter appear at the bottom of the Behaviors Inspector.
Logarithmic The Logarithmic parameter behavior is the inverse of the Exponential behavior. Like the Exponential behavior, it creates more natural animations when scaling objects, especially when using high values. The Logarithmic parameter behavior applies a mathematical function to create a logarithmic curve (rather than linear) between the two values—the effect ramps up quickly, and then the effect slows down.
MIDI The MIDI behavior allows you to edit and animate object parameters using standard MIDI devices, such as a synthesizer. For the true motion graphics mixmaster. Parameters in the Inspector Control Type: Specifies the mode of the MIDI controller. The three available control types are: • Note: This mode is displayed when the control is a keyboard key on the MIDI device. • Controller: This mode is displayed when the control is a knob, dial, key, slider, or foot pedal on the MIDI device.
2 Control-click the parameter, then choose MIDI from the shortcut menu. The MIDI parameters are displayed in the Behaviors Inspector. By default, Control Type is set to Learning. Like all other Parameter behaviors, the Apply To field displays the parameter to which the behavior is applied. 3 On your MIDI device, tweak the control (such as the knob, dial, or key) you want to use as the controller for the Opacity parameter.
For example, applying the Negate behavior to the Position parameter of an object with an animation path results in the animation path moving to the opposite quadrant of the Canvas. Note: If you want to reverse the motion taking place on an animation path, rather than flipping the shape of the animation path itself, use the Reverse parameter behavior. Parameters in the Inspector Apply To: The Apply To pop-up menu shows the parameter affected and can be used to reassign the behavior to another parameter.
Parameters in the Inspector Wave Shape: A pop-up menu that lets you choose the shape of the oscillation’s wave. The choices are Sine (default), Square, Sawtooth, and Triangle. • Sine: The default wave shape, the sine wave creates a smooth animation between values. For example, if Oscillate is applied to an object’s Opacity parameter, and the Wave Shape is set to Sine, the object gracefully fades in and out. • Square: The square wave creates abrupt changes in values.
• Triangle: Similar to the sine wave, a triangle wave creates a smooth animation between values but with sharper changes at the transitions. For example, when Oscillate is applied to an object’s Opacity parameter, and the Wave Shape is set to Triangle, the object fades in and out more acutely than the sine wave. Phase: A slider that lets you adjust the point of the specified oscillation where the behavior starts.
End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, freezes the end of the effect for the remaining duration of the object. Trimming the end of the behavior resets the object to its original parameters.
When the object is selected, you can see the dampening of the animation—caused by the keyframed Amplitude parameter—in the Keyframe Editor (when Animated is chosen from the pop-up menu above the Keyframe Editor). The following illustration shows the keyframed Amplitude parameter of the Oscillate behavior superimposed over the resulting change to the Oscillate curve itself.
Offset: A slider that offsets the steps. For example, when Quantize is applied to a Position parameter and Step Size is set to 100, an object “steps” in increments restricted to 100 pixels; thus, the step offset is 100, 200, 300, and so on. If Offset is set to 50, the step offset is restricted to 50, 150, 250, and so on. Apply To: The Apply To pop-up menu shows the parameter affected, and can be used to reassign the behavior to another parameter.
Parameters in the Inspector Start Value: The value that’s added to the parameter at the first frame of the Ramp behavior. End Value: The value the Ramp behavior reaches at the last frame of the behavior. Over the life of the behavior, the parameter the Ramp behavior is applied to makes a transition from the Start Value to the End Value, plus the original value. Curvature: This parameter lets you ease the acceleration with which the Ramp behavior transitions from the Start Value to the End Value.
The Apply Mode parameter determines how values generated by this behavior are combined with other behaviors and keyframes that affect the same parameter. This provides you with different ways of using a Randomize behavior to modify a parameter’s preexisting values. The Randomize behavior is useful for creating jittery effects, such as twitchy rotation, flickering opacity, and other effects requiring rapid and varied changes over time that would be time-consuming to keyframe.
End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline. Using this slider to stop the effect, instead of trimming the end of the behavior in the Timeline, freezes the last random value generated by this behavior for the remaining duration of the object.
HUD Controls The HUD has controls for Rate, Curvature, and parameter assignment. Related Behaviors • Oscillate • Ramp Reverse Unlike the Negate behavior, which inverts the value of the parameter to which it’s applied, the Reverse behavior reverses the direction of any animation that affects a parameter, whether it’s caused by behaviors or keyframes.
Track This behavior allows you to apply tracking data to a parameter of an effect, such as the center point of the Light Rays filter. For more information on using the Track behavior, see Track Behavior. Wriggle This behavior works similarly to the Randomize behavior, but with a slower effect. Tip: A Wriggle behavior applied to an Opacity parameter set to 100% does not have much effect. This is because there isn’t much room to “wriggle.
Start Offset: A slider that lets you delay the beginning of the behavior’s effect relative to the first frame of its position in the Timeline. Adjust this parameter to make the behavior start later. This parameter is measured in frames. End Offset: A slider that lets you offset the end of the behavior’s effect relative to the last frame of its position in the Timeline, in frames. Adjust this parameter to make the behavior stop before the actual end of the behavior in the Timeline.
The following sections cover the Retiming behaviors: • Flash Frame • Hold Frame • Loop • Ping Pong • Replay • Reverse • Reverse Loop • Scrub • Set Speed • Strobe • Stutter Flash Frame This behavior randomly inserts a user-defined range of random frames (adjacent to the current frame) into the playback of a clip. Parameters in the Inspector Random Frames: A slider that sets the probability that a frame within the duration of the behavior is replaced with a random frame.
Hold Frame The Hold Frame behavior holds the frame at the behavior’s In point for the duration of the behavior. The clip continues playing normally after the behavior’s Out point. For example, if the Hold Frame behavior begins at frame 60 and ends at frame 300, the clip plays normally until frame 59, frame 60 is held for 240 frames, and then normal playback resumes—frame 61 of the clip—at frame 301. The Hold behavior is applied at the current frame, rather than at the start of the object.
Parameters in the Inspector Duration: A slider that sets the duration of the ping-pong frames. The default value is 30 frames. HUD Controls The HUD contains the Loop Duration parameter. Replay The Replay behavior resets the playhead at the beginning of the behavior to a specific frame, and then plays the clip normally from that frame. The clip plays back normally after the end of the behavior.
Tip: To achieve a nice stutter effect, set Loop Duration to 2. Parameters in the Inspector Loop Duration: A slider that sets the duration of the looped frames to be played in reverse. The default value is 30 frames. HUD Controls The HUD contains the Loop Duration parameter. Scrub Like the Scrub filter, the Scrub behavior moves a virtual playhead around a clip, allowing you to change the timing of the clip without moving it in the Timeline.
Ease In Time: A slider that sets the number of frames over which the ease in to the speed change occurs (from the start of the behavior). The default value is 20 frames. Ease In Curve: A slider that defines the curvature of the ramp when easing into the speed change. A value of 0 creates a sharp transition to the new speed; a value of 100 creates the smoothest ease in to the new speed. The default is 50%.
Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new values, based on the other parameters of this behavior. HUD Controls The HUD contains the Stutter Amount, Duration Range, and Random Seed parameters. Simulation Behaviors These behaviors perform one of two tasks. Some Simulation behaviors, such as Gravity, animate the parameters of an object in a way that simulates a real-world phenomenon.
• Spring • Vortex • Wind Align To Motion The Align To Motion behavior changes the rotation of an object to match changes made to its direction along an animation path. This behavior is meant to be combined with Simulation behaviors that animate the position of an object or with a keyframed animation path you create yourself. Note: The Align to Motion behavior does not work on objects animated using the Motion Path behavior.
Axis: A pop-up menu that lets you specify whether the object aligns to its horizontal or vertical axis. Invert Axis: A checkbox that flips the orientation with which the object aligns to the motion. Spring Tension: A slider that adjusts how quickly the object’s rotation changes to match a change in the object’s direction. Lower values create a delay between a change to an object’s position and its subsequent change in rotation. Higher values create more responsive changes in rotation.
The Drag parameter lets you define whether attracted objects overshoot and bounce about the attracting object, or whether they eventually slow down and stop at the position of the target object. You can apply two or more Attracted To behaviors to a single object, each with a different object of attraction, to create tug-of-war situations where the object bounces among all objects it’s attracted to.
Include X, Y, and Z: Buttons that allow you to specify the axes on which the affected object (or objects) moves around the object to which it is attracted. When Z is enabled, the object moves about its attractor object in Z space. HUD Controls The HUD has an Object well you can use to assign an object of attraction, as well as Strength, Falloff Type, Falloff Rate, Influence, Drag, and axis assignment parameters.
The Attractor behavior can also be applied to objects in motion. If you animate the position of the target object to which you’ve applied the Attractor behavior, all other objects in the Canvas continue to be attracted to its new position. Parameters in the Inspector Affect: A pop-up menu that limits which objects in your project are affected by the Attractor behavior. There are three options: • All Objects: All objects in the Canvas are affected by the Attractor behavior.
Include X, Y, and Z: Buttons that allow you to specify the space in which the object (or objects) moves toward the target object. For example, when X and Y are enabled, the object moves in the XY plane; when Y and Z are enabled, the object moves in the YZ plane. HUD Controls The HUD lets you adjust the Affect, Strength, Falloff Type, Falloff Rate, Influence, Drag, and axis assignment parameters.
Related Behaviors • Rotational Drag Drift Attracted To Similar to the Attracted To behavior, but by default an object moves toward the object of attraction and comes to rest, rather than overshooting the object of attraction and bouncing around. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer.
Include X, Y, and Z: Buttons that allow you to specify the space in which the affected object (or objects) drifts toward the object to which it is attracted. For example, when X and Y are enabled, the object drifts in the XY plane; when Y and Z are enabled, the object drifts in the YZ plane. HUD Controls The HUD has an Object well you can use to assign an object of attraction, sliders for strength and drag, and axis assignment.
Strength: A slider defining the speed with which attracted objects move toward the target object. With a value of 0, attracted objects don’t move at all. The higher the value, the faster attracted objects move. Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. • Linear: Object attraction falls off in proportion to the object’s distance.
Edge Collision This is a good behavior to use if you’re setting up complex motion simulations and you don’t want your objects exiting the Canvas. Objects with the Edge Collision behavior applied come to a stop or bounce off after colliding with the edge of the Canvas frame.
• Front Face: Defines the front edge (in Z space) for the collision. Width: A slider that allows you to define a width (the right and left edges of the Canvas) other than the size of project. By default, Width is set to the project size. Height: A slider that allows you to define a height (the top and bottom edges) other than the size of project. By default, Height is set to the project size. Depth: A slider that allows you to define a depth (the back and front faces, in Z space) for the edge collision.
You can also set the Acceleration parameter to a negative value, effectively applying “anti-gravity” to the object and making it fly up. Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually.
Parameters in the Inspector Affect Subobjects: This parameter appears when this behavior is applied to an object that contains multiple objects, such as a group, a particle emitter, a replicator, or a text layer. When this checkbox is selected, all objects in the parent object are affected individually. When this checkbox is deselected, all objects in the parent object are affected by the behavior together. Object: A well that defines the object to orbit around.
Include X, Y, and Z: Buttons that allow you to specify the space in which the orbit occurs. For example, when X and Y are enabled, the object orbits in the XY plane. In the illustration below, X and Y are selected in the Include parameter. The yellow motion paths represent the motion of the white airplanes around the target object (the orange outlined star). The light gray box represents the boundary of the group. In the illustration below, Y and Z are turned on in the Include parameter.
Pole Axis: This parameter becomes available when the X, Y, and Z axes are enabled in the Include parameter. Because all points are at a fixed distance from the target or attractor object (the Pole Axis), the object can be visualized on a sphere of all possible orbits, with the target object at the center of the sphere. The Pole Axis defines the two points on the sphere that the orbit must pass through. • X: Aligns the Pole Axis set to the X plane. • Y: Aligns the Pole Axis to the Y plane.
Random Motion The Random Motion behavior animates the position of an object and makes that object move around the Canvas along a random path. Although the motion created with this behavior appears to be random, it is predetermined by the group of parameters you’ve chosen. As long as you don’t change the parameters, the animation path created by this behavior remains the same.
Frequency: A slider that determines the number of twists and turns in the animation path, which can be seen by the crookedness of the resulting animation path. Higher values create more turns in the animation path. Lower values result in straighter animation paths. Noisiness: A slider that determines an additional level of jaggedness along the animation path shape defined by the Amount parameter. Higher values result in a more jagged-looking animation path.
Repel If you apply the Repel behavior to an object, that object pushes away all other objects within the area of influence in the Canvas. The strength with which objects are pushed away can be increased or decreased, as can the distance repelled objects travel. Before After You can also specify which objects are affected by this behavior, creating an effect where only specific objects are moved, while others remain still.
Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. • Linear: Repulsion between objects falls off in proportion to the object’s distance. • Exponential: The closer an object is within the area of influence, the more strongly it is repelled, and the faster it moves away from the object doing the repelling.
Falloff Type: A pop-up menu that determines whether the distance defined by the Influence parameter falls off linearly or exponentially. • Linear: Repulsion between objects falls off in proportion to the object’s distance. • Exponential: The closer an object is within the area of influence, the more strongly it is repelled, and the faster it moves away from the object doing the repelling.
HUD Controls The HUD lets you control the amount of drag. When applied to an object that contains multiple objects (such as a group, particles, text, or the replicator), the Affect Subobjects checkbox also appears in the HUD. Related Behaviors • Drag Spring The Spring behavior creates a relationship between two objects, so an object with the Spring behavior applied to it moves back and forth around a second object.
HUD Controls An image well in the HUD lets you set the Attract To object. You can also control the Spring Tension and Relaxed Length parameters and axis assignment. A checkbox lets you turn on the Repel parameter. When this behavior is applied to an object that contains multiple objects (such as a group, particles, text, or the replicator), the Affect Subobjects checkbox also appears in the HUD.
• Exponential: The closer an object is within the area of influence, the more strongly it is attracted, and the faster it moves toward the object of attraction. Falloff Rate: This value determines how quickly the force of attraction between objects affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting up to speed as they move toward the object of attraction. A high Falloff Rate causes objects to accelerate much more slowly.
Wind Apply the Wind behavior to an object to animate its position and move it in a specified direction. Unlike the Throw behavior, the velocity specified by the Wind behavior is a continuous force, and its parameters can be keyframed to achieve gradual changes in speed and direction. The Wind behavior is better than the Throw behavior when you want to vary the speed of the affected object.
HUD Controls The HUD lets you specify the direction and speed of the Wind behavior by dragging an arrow in a circular region. The direction of the arrow defines the direction of movement in X and Y space, and the length of the arrow defines speed (velocity). A slider to the right lets you adjust the scale of the HUD control, increasing or decreasing the effect the control has over the object.
Note: The maximum speed you can define with the HUD is not the maximum speed possible. Higher values can be entered into the Velocity parameter in the Behaviors Inspector. Related Behaviors • Motion Path • Gravity • Random Motion • Throw Additional Behaviors Audio, Camera, Motion Tracking, Particles, Replicator, Shape, and Text behaviors are designed specifically to be applied to their respective objects: Audio files, cameras, particle emitters or cells, replicators or replicator cells, shapes, and text.
Using Rigs 10 Even a relatively simple Motion project can contain numerous parameters. Keeping track of them can be difficult. Often, you might want to modify a variety of parameters simultaneously. Finding and changing them individually would interrupt your workflow and slow you down. Rigging allows you to map multiple parameters to a single control.
About Rigging and Widgets When you rig an object in Motion, you create a set of master controls called widgets. Widgets reside inside the rig and can affect nearly any parameter in any rigged object, including behaviors, filters, particle systems, replicators, lights, cameras and so on. Widgets can even control other widgets.
After you assign a parameter to a widget, changes you make to that parameter update the active snapshot in that widget. For example, if the parameter is assigned to a pop-up menu widget, the change is applied to the selected menu item. Each parameter in a project can be assigned to only one widget at a time. However, you can store many values for that parameter as different snapshots that can be accessed using a pop-up menu or slider widget.
µ In the Inspector, open a parameter’s Animation menu (the downward arrow on the right), choose Add To Rig > Create New Rig, then choose a widget type from the submenu. A new rig is added to the project. Rigs appear as objects in the Layers list. In the Timeline, rigs are represented as blank tracks because they cannot be edited in time. When you add a rig to a project using the first two methods described above (via the Object menu or its keyboard shortcut), no widgets are created.
µ To add a widget to a rig Select the rig in the Layers list, then click an Add Widget button in the Rig Inspector. There are three choices: Add Slider, Add Pop-up, and Add Checkbox. µ Drag a parameter row from any Inspector pane to a rig object in the Layers list. Dropping the parameter row immediately on the rig object creates a slider widget. Pausing briefly causes a drop menu to appear, allowing you to select the widget type you want to create. µ Add a widget from the Animation menu of a parameter.
To move a widget to another rig 1 In the Layers list, drag the widget you want to move to the rig. 2 When the pointer changes to the Add pointer, release the mouse button. Widget Types Each widget type—pop-up menu, checkbox, and slider—has a distinct set of controls in the Rig Inspector and Widget Inspector. By default, each widget is named according to its type (“Checkbox,” for example). However, you can assign a custom name to identify the settings the widget will affect.
Checkbox: Use this widget control to switch between two snapshots (parameter states). Edit Mode: Click the Start button to enable snapshot recording. For more information about recording snapshots, see Managing Parameter Snapshots. Note: When you record a snapshot (using the Edit Mode button or the methods described in Managing Parameter Snapshots), the affected parameters (those you modify in the Inspector or via onscreen controls in the Canvas) are added to the widget.
Note: When you record a snapshot (using the Edit Mode button or the methods described in Managing Parameter Snapshots), the affected parameters (those you modify in the Inspector or via onscreen controls in the Canvas) are added to the widget. When you finish recording a snapshot, new controls for the modified parameters appear in the Widget Inspector. These parameters are duplicates of the same parameters that occur in other Inspector panes.
Slider Slider widgets let you select values interpolated between snapshots. When you drag the slider, the affected parameters change gradually, ramping between the values of adjacent snapshots. Each snapshot assigned to a slider is represented by a separate snapshot tag—a small shaded circle underneath the slider widget. Double-click the area below the slider to add snapshot tags. Parameters at this position inherit their values based on the interpolation point between the two snapshot tags.
Snapshot Tag: Use the small shaded circles underneath the slider indicate saved snapshots. Double-click below the slider to add snapshot tags. Add as many snapshot tags as you want. Snapshot tags work similarly to tags that represent individual colors in a gradient. To learn how tags are used when creating gradients, see Gradient Editor. Edit Mode: Click the Start button to enable snapshot recording. For more information about recording snapshots, see Managing Parameter Snapshots.
Managing Parameter Snapshots The snapshots used to establish the values in the widgets are created in any of three ways: • Clicking the Edit Mode Start button in the Widget Inspector • Control-clicking parameters and adding them to a rig via the shortcut menu • Dragging and dropping a parameter onto an existing rig or widget in the Layers list The first method is described below. For more information about the other methods, see Controlling Rigs from Parameter Animation Menus and Building a Rig.
Any parameter controlled by a rig is added to the Widget Inspector, below the Edit Mode: Start button and above the Options parameters. After you click the Stop Rig Edit Mode button, no additional parameters are added to the widget. To cancel the recording of the snapshot, click the close button on the Stop Rig Edit Mode window. When you stop recording, changes made to parameters are saved, but no new parameters are added to the widget. Note: Each parameter can be controlled by only one widget.
A pop-up widget appears in the Layers list (under the rig), and pop-up widget controls appear in the Rig Inspector. A Widget Inspector is added to the project (containing the same pop-up widget controls that appear in the Rig Inspector). To access the Widget Inspector, click the pop-up widget object in the Layers list. 3 In the Rig Inspector or the Widget inspector, choose an item from the pop-up menu. By default, a new pop-up menu widget contains three items: Snapshot 1, Snapshot 2, and Snapshot 3.
5 Make changes to the objects in your project in the Canvas, the HUD, or the Inspector, creating the snapshot for the active menu item in the pop-up widget. 6 After you set the parameters to the wanted snapshot state, click the Stop Rig Edit Mode button. The snapshot is stored. Modified parameters are added to the Widget Inspector. Parameters added to Widget inspector 7 To set additional snapshots, repeat steps 3 through 6.
For slider widgets, you must select a snapshot tag before enabling Edit Rig Mode. Selected snapshot tag After parameters are added to the widget, they can be modified only when a specific snapshot tag is selected. If a slider widget is set between two tags, you cannot modify parameters. Controlling Rigs from Parameter Animation Menus You can create or modify a rig while you are modifying specific parameters in your project.
µ To add a parameter to a rig In the Inspector, open the Animation menu (the downward arrow on the right) for the parameter, choose Add to Rig > Rig, then choose a rig and a specific widget from the submenus. The parameter is added to the selected widget in the rig. Note: You can also create a rig via this submenu. µ To Remove a parameter from a widget In the Inspector, open the Animation menu (the downward arrow on the right) of the parameter to remove, then choose Remove from Widget [name of widget].
Note: This command can be especially helpful when a widget is driving multiple similarly-named parameters from different objects. This command allows you to identify the parent object. Animating Widgets You can animate slider widgets like any other parameter in Motion, through the use of keyframes. Keyframing lets you create powerful and complex effects where a combination of parameters driven by a single widget are animated simultaneously. You can also use one widget to control another.
Each time the project is used, the size and position of the background generator must change to match the length of the text. Also, the lens flare must only appear on top of the letters. Using a rig, you can create a small set of controls that modify the parameters such changes require. That way, rather than selecting individual objects, open their respective Inspectors, and make those changes, you can select the rig and have instant access to the parameters to change.
Multiple Rigs Motion allows you to create multiple rigs in a single project. Rigs can be organized to control sets of parameters, and they can be grouped with the objects they affect. For example you can place a rig inside the group that contains the parameters affected by the rig. That way you can navigate to the relevant rig to control the specific, related elements.
µ To publish a widget In the Rig or Widget inspector, Control-click the parameter or open the Animation menu (the downward arrow on the right) for the widget you want to publish, then choose Publish. To view published parameters in Motion 1 In the Layers list, click the Project object. 2 In the Project Inspector, open the Publishing pane. The Publishing pane displays all published parameters, including widgets. Published parameters also appear in the Inspector in Final Cut Pro X.
Creating Templates for Final Cut Pro X 11 Final Cut Pro X ships with numerous effects, titles, transitions, and generators, nearly all of which were created in Motion. If your Final Cut Pro X project calls for additional effects and you are an advanced Motion user, you can build them using the powerful features in Motion. If you are a content creator, you can distribute custom effects to artists and editors at your facility or to clients.
• Publishing a Standard Motion Project as a Final Cut Pro X Template (p. 541) • Using Media in Template Placeholders (p. 541) • Publishing Parameters in Templates (p. 543) • Animation and Timing in Templates (p. 551) • Working with Markers in Templates (p. 554) • Template Resolution (p. 559) • Using Masks in Templates (p. 559) • Template Files and Media Save Location (p. 560) • Adding Multiple Display Aspect Ratios to a Template (p. 562) • Tips for Creating Templates (p.
Important: Because you cannot change template types after you open a project, determine what kind of template you want to build before creating a Motion project. Note: A standard Motion project can also be published as a generator in Final Cut Pro X. For more information, see Publishing a Standard Motion Project as a Final Cut Pro X Template. Like all Motion projects, Final Cut Pro templates can have 2D and 3D groups, as well as animation created with behaviors or keyframes.
How Templates Work Creating a template begins in the Motion Project Browser, where you select one of four template types—Final Cut Effect, Final Cut Transition, Final Cut Title, or Final Cut Generator—then click open. The new Motion project that opens contains graphical placeholders—target layers where you apply Motion behaviors, filters, and other effects that combine to create an effect for Final Cut Pro X.
Final Cut Effect Template The Final Cut Effect template contains one placeholder layer: Effect Source. Drag filters and behaviors to the placeholder layer (the downward arrow graphic in the Canvas) to create custom effects. Drag an image to the placeholder layer to preview the effect. When you save the template in Motion, the template is automatically exported to the Final Cut Pro Effects Browser. In Final Cut Pro, apply the effect to a clip in the Timeline.
Final Cut Transition Template The Final Cut Transition template contains two placeholder layers: Transition A and Transition B. Filters and behaviors added to Transition A affect the first clip in a Final Cut Pro transition. Filters and behaviors added to Transition B affect the second clip in the transition. Drag an image to each placeholder to preview the transition. When you save the template in Motion, the new transition is automatically exported to the Final Cut Pro Transitions Browser.
Final Cut Title Template The Final Cut Title template contains a text layer (Type Text Here) and a placeholder layer (Title Background). Modify the text, as necessary. Animate the text using behaviors or keyframes, and add text layers and text effects, if needed. Filters and behaviors applied to the Title Background placeholder modify the clip that the title effect is applied to in Final Cut Pro. Drag an image to the Title Background layer to preview the effect.
To create a template that allows you to use the background in the ways discussed above, you can publish a rigged checkbox that turns the drop zone on or off in the main Timeline. Alternatively, you can create two versions of the title template, one that uses a standard drop zone as a background and one that uses the default Title Background placeholder. For more information on rigging, see Using Rigs. For more information on publishing, see Publishing Parameters in Templates.
Placeholders Versus Drop Zones Placeholders and drop zones can be scaled or transformed in templates to create certain looks and movements. For example, you can create a picture-in-picture effect by adding a drop zone to a template, scaling the drop zone down, then positioning it in a corner of the Canvas.
A new, untitled Motion project opens, with the Effect Source placeholder layer selected. 4 To add a reference image to the Effects Source placeholder to preview your work, do one of the following: • From the File Browser or Library, drag an image onto the placeholder arrow in the Canvas. When the pointer becomes a curved arrow, release the mouse button. • From the File Browser or Library, drag an image to the Effect Source layer in the Layers list.
You can also create a custom category. Categories appear in the Motion Project Browser and the Final Cut Pro Effects Browser. c If needed, choose a theme from the Theme pop-up menu. You can also create themes. Themes appear in the Motion Project Browser and the Final Cut Pro Themes Browser. A theme is a metadata tag that helps categorize templates. For more information on Motion Project Browser themes and categories, see The Project Browser.
If the preview image used when creating the effect in Motion was saved with the project, that media appears in the template. 4 Modify the project in Motion, then do one of the following: • To save a copy of the Final Cut Pro preset with the default name, choose File > Save. • To save a copy of the Final Cut Pro preset with a new name, choose File > Save As, complete the save dialog information, then click Publish.
The Bokeh Random effect is applied to the clip. 4 Click the Inspector button in the toolbar. The first control in the Inspector is the Type parameter, which sets the shape of particles in the effect. 5 To change the particle shapes to hexagons, choose Hexagons from the Type pop-up menu. 6 Adjust some of the other controls, such as Size, Number, and Opacity to see how they change the effect.
The effect is comprised of rigged particle parameters, behaviors, and a Gaussian Blur filter. For an example of rigging, see Advanced Example: Creating an SLR Effect Template Using Rigging. 5 In the Circles group, select the “Bokeh 4” particle emitter, then choose Colorize from the Color Mode pop-up menu in the Emitter Inspector. 6 Select a new color from the Color parameter. In the Canvas, the circular particles change to the new color.
• Control-click the Color parameter’s name, then choose Publish from the shortcut menu. 8 Click the Project object to view the modified published parameter list. The Color parameter now appears in the list. When the modified template is applied to a clip in the Final Cut Pro Timeline, the Color parameter will be available in the Final Cut Pro Inspector. Published Color parameter In the next task, remove the Type parameter from controls that will appear in the Final Cut Pro Inspector.
• Control-click the Type parameter’s name, then choose Unpublish from the shortcut menu. The Type control is removed from the list and will not be available in Final Cut Pro. 2 Choose File > Save (or press Command-S). If you imported a still placeholder image, a dialog appears asking if you want to copy that image to the saved Motion project. To save the image with the Motion project, click Copy. To save the project without the image, Click Don’t Copy.
The project opens and contains a single group with one Effect Source placeholder layer. The placeholder (the arrow image) represents the clip or image to which the effect will be applied in the Final Cut Pro Timeline. Because this template uses multiple instances of the same image or clip to create an SLR split-prism effect, clones are made of the placeholder. 3 Clone the placeholder: a Select the Effect Source layer, then choose Object > Make Clone Layer (or press K). b Rename the Clone Layer “Background.
5 Organize the groups and placeholder clones: a Drag the Bottom Prism clone layer to the Bottom Prism Group. When the highlight appears around the Bottom Prism Group, release the mouse button. b Drag the Top Prism clone layer to the Top Prism Group. c Shift-select the Bottom Prism Group and the Top Prism Group, then drag them to the Split Prism Group. The Bottom Prism Group and the Top Prism Group are now members of the Split Prism Group. d Drag the Split Prism Group to the Focus Screen Group.
c Set Brush Color to black. d Set Width to 1. e Set Brush Opacity to 80 percent. 5 With the Outer Ring layer selected, press Command-D, then name the duplicated shape “Texture Ring.” 6 In the Shape Inspector, do the following: a Turn off Outline by deselecting the blue activation box. b Turn on Fill by selecting the blue activation box. c Set Fill Color to black. d Set Fill Opacity to 35 percent. 7 In the Properties Inspector, set Scale to 42 percent.
This image will allow you to see the effect you are building. When the image is dragged to the Canvas, it is applied to the clone and background layers. This example uses an image of a herd of elephants. They’re neat. 2 In the Layers list, select the Background layer. 3 In the toolbar, choose Blur > Gaussian Blur from the Add Filter pop-up menu. A Gaussian Blur filter is added to the elephant image. 4 In the Filters Inspector, set Amount to 0.
Use the following image as a reference: The Texture Ring circle is masked. However, to simulate an SLR viewfinder focus ring, you need to invert the mask. c In the Mask Inspector, select Invert Mask. Tip: To align objects in the Canvas, use the Dynamic Guides and snapping (press N). You can also select objects, then choose an option from the Objects > Alignment menu. 2 Add a mask to the Top Prism Group: a In the Layers list, select the Top Prism Group.
Use the following image as a reference: Tip: To quickly zoom out of the Canvas, press Command–Minus Sign. Press Command–Plus Sign to zoom into the Canvas. Alternatively, you can hold down the Space bar and Command key (in that order), then drag diagonally in the Canvas. The zoom occurs around the spot clicked in the Canvas. c With the mask selected, choose View > Show Rulers (or press Command-Shift-R).
d Drag two guides from the horizontal ruler and align them with the lower-left and lower-right corners of the mask. 3 Add a mask to the Bottom Prism Group: a In the Layers list, select the Bezier Mask created in step 2. b Choose Edit > Duplicate (or press Command-D). c Drag the Bezier Mask Copy to the Bottom Prism Group. d Choose the Select/Transform tool from the pop-up menu at the far-left side of the toolbar.
e Holding down the Shift key, drag the mask’s rotation handle 180 degrees. f Drag the mask downward until the upper-left and upper-right corners of the mask align with the guides. Tip: After you begin dragging, hold down the Shift key to confine movement to the Y axis. To fine-tune the Y position of the mask, press Command–Up Arrow or Command–Down Arrow, or adjust the Y Position parameter in the mask’s Properties Inspector.
c With the Circle Mask copy selected, deselect the Invert Mask checkbox in the Mask Inspector. d With the Circle Mask copy selected, open the Properties Inspector and set the Scale parameter to match the scale of the Texture Ring: 42 percent. In the next task, create the rig that will control the positions of the Top Prism layer and the Bottom Prism layer, simulating focusing the SLR camera.
b Control-click the X Position parameter name, then choose Add to Rig > Create New Rig > Add To New Slider from the shortcut menu. The Widget Inspector is displayed, and contains a single parameter: “Top Prism.X.” A rig icon (a joystick) appears next to the parameter in the Inspector (as well as in the Properties Inspector for the Top Prism clone layer). Rig and Slider objects also appear near the top of the Layers list.
The rigged parameters appear in the Rig Inspector, with the most recently added parameter at the top of the list. Rigged parameters In the next task, create three different snapshots simulating the viewfinder focus effect. In the first snapshot, the top prism is shifted to the left and the background image appears out of focus. In the second snapshot, the top and bottom prisms are aligned and the background image appears in focus.
4 Click the third snapshot, then set the following values: a Set the Gaussian Blur.Amount to 150. b Set the Bottom Prism.X to –25. c Set the Top Prism.X to 25. This snapshot represents simulates the viewfinder of an SLR camera focused at the opposite extreme. Note: The middle snapshots values remain at 0, representing the SLR camera lens in sharp focus. 5 Drag the slider back and forth to see the effect of the rigged parameters. Be sure to drag only the slider control, not a snapshot tag.
The Focus slider appears in the Published Parameters list, indicating which parameter controls will appear in the Final Cut Pro Inspector. 4 Choose File > Save, then do the following: a In the save dialog, enter a name for the template. If you don’t specify a name, the template appears in the Final Cut Pro Effects Browser as “New Template.” b Choose a category from the Category pop-up menu. You can also create a custom category.
2 In the Project Browser, click Final Cut Title, then choose a project size from the Preset pop-up menu. Important: Be sure to create the template at the highest resolution you will use in your Final Cut Pro project. 3 Click Open (or press Return). If the correct preset is already chosen, you can double-click Final Cut Title in the Project Browser. A new, untitled Motion project opens containing two layers: a text layer (Type Text Here) and a placeholder layer (Title Background).
Publishing a parameter makes its user interface control (the slider, checkbox, or dial) available in the Final Cut Pro Inspector when the custom title is added to a clip. Published parameters can be adjusted and keyframed in Final Cut Pro. For more information, see Publishing Parameters in Templates. For information specific to publishing text parameters, see Publishing Text Parameters.
Drop zones in templates allow Final Cut Pro X users to place media into designated regions of the applied effect. You can add filters, behaviors, animations, and other effects to drop zones in Motion so those effects influence clips later added in Final Cut Pro. For more information on drop zones, see Drop Zones. µ To add a background for a title template In the Final Cut Title project, choose Object > New Drop Zone. A drop zone layer (titled “Drop Zone”) appears in the layers list and Canvas.
• To save the updated Motion-created template as a copy, choose File > Save As, complete the save dialog information, then click Publish. Note: When you modify a Final Cut Pro preset or Final Cut template created in Motion, saved changes do not affect instances of the effect applied to the Final Cut Pro Timeline. The template is saved and appears in Titles Browser in Final Cut Pro.
Be sure to drag the images directly from the File Browser or Library to the placeholders. If you accidentally place the images into a new layer, you can’t move them to the placeholder layers. The images are added to the Transition A and B placeholder layers, replacing the arrow graphics in the Canvas, and are resized if they are not the same size as the project. The images serve as temporary media to preview the result of the transition you are building. They are not used in the Final Cut Pro X transition.
You can also create a custom category. Categories appear in the Motion Project Browser and the Final Cut Pro Transitions Browser. c If needed, choose a theme from the Theme pop-up menu. You can also create themes. Themes appear in the Motion Project Browser and the Final Cut Pro Themes Browser. A theme is a metadata tag that helps categorize templates. For more information on Motion Project Browser themes and categories, see The Project Browser.
2 Select the drop zone layer, then do one of the following in the Image Inspector: • To use a clip as the drop zone’s source media in Final Cut Pro, choose Media Source from the Type pop-up menu. When the transition is added to a Final Cut Pro project, a Drop Zone image well appears in the Final Cut Pro Inspector. Using this image well, an editor can add a source clip that appears as a background during the custom transition. For more information, refer to the Final Cut Pro X Help.
3 Control-click the transition and do one of the following: • If the transition is a Final Cut Pro preset, choose “Open a copy in Motion” from the shortcut menu. A copy of the project opens in Motion, and the duplicated file appears in the Final Cut Pro Transitions Browser. Note: The “Open a copy in Motion” command is not available for FxPlug transitions. • If the transition is a template created in Motion, choose “Open in Motion” from the shortcut menu. The original project opens in Motion.
3 Optional: You can drag a still image from the File Browser to Transition A in the Layers list and then drag a different still image to Transition B, releasing the mouse button when the pointer changes to a curved arrow. Doing so gives you a better view of the transition you are building. Note: This example does not use any images. When you play the project (press the Space bar), no transition is present by default. Transition A ends, and transition B begins abruptly.
Again, adjust the Opacity value to be sure a keyframe is created. This prevents any dipping to black as transition A fades into transition B. d At frame 130, set Opacity to 0. When you play the project, Transition A fades into Transition B. 7 In the Layers list, select the Group. 8 In the toolbar, choose Blur > Prism from the Add Filter pop-up menu. 9 Animate the blur amount of the Prism filter: a Drag the playhead to frame 1, then open the Filters Inspector and set Amount to 0.
You can also create themes. Themes appear in the Motion Project Browser and the Final Cut Pro Themes Browser. A theme is a metadata tag that helps categorize templates. For more information on Motion Project Browser themes and categories, see The Project Browser. d To retain unused media in the project (media or audio in the Media list that is not used in the template), select “Include unused media.” e If you want a preview movie to appear in the Motion Project Browser, select Save Preview Movie.
If the correct preset is already chosen, you can double-click Final Cut Generator in the Project Browser. A new, untitled project opens. The project contains no placeholders. 4 Build the project as you would any other Motion project, using shapes, text, behaviors, camera animation, and so on. Note: You can also add drop zones to create additional effects, such as a picture-in-picture effect. Drop zones allow Final Cut Pro X users to place media into designated regions of the applied effect.
The template and remaining media are saved and exported to the Final Cut Pro Generators Browser. Modifying a Final Cut Pro X Generator in Motion Many presets in the Final Cut Pro X Generators Browser were created in Motion. You can modify these presets in Motion, then save them as generators in Final Cut Pro. To modify a Final Cut Pro X generator in Motion 1 In Final Cut Pro X, click the Generators Browser button in the toolbar. The Generators Browser appears. 2 Locate the generator to edit.
Publishing a Standard Motion Project as a Final Cut Pro X Template When possible, use the Final Cut Effect, Title, Transition, and Generator templates to create effects content for Final Cut Pro X. However, if necessary, you can convert a standard Motion project for use in Final Cut Pro.
When you publish the template, the image is saved with the template. If you replace the image placeholder after you’ve saved the template, you have the option to save the new image with the new template. To replace an image in a template saved with media 1 To replace a reference placeholder image, do one of the following: • From the File Browser or Library, drag an image onto the placeholder arrow in the Canvas. When the pointer becomes a curved arrow, release the mouse button.
The preview media is removed from the template, and the placeholder arrow reappears in the affected layer. Click the Clear button to clear media from the template placeholder. To manually remove media saved with a template 1 In the Finder, go to the /Users/username/Movies/Motion Templates/ folder. 2 In the appropriate Effects, Titles, or Transitions folder, open the theme folder that contains your template, the open the Media folder. 3 Drag the media to the Trash.
When you publish a compound parameter (a parameter with nested subparameters), the parameter and its subparameter controls appear in the Final Cut Pro Inspector, like any other published parameter. If the subparameter controls are not visible, click the disclosure triangle next to the parameter name in the Final Cut Pro Inspector to reveal them. You can also publish onscreen controls for filters (in addition to filter parameters).
• The onscreen path for the Motion Path behavior. (Parameters can be published that allow editing of the path in the Final Cut Inspector, but the path does not appear in the Final Cut Pro Viewer.) In general, Motion lets you publish most parameters in the application. However, some publishable parameters are not supported in Final Cut Pro.
2 Open the selected item’s Inspector. To publish a compound parameter to Final Cut Pro in a collapsed state (its subparameters hidden by a disclosure triangle), make sure the parameter's disclosure triangle is closed. To publish a compound parameter in an expanded state (disclosure triangle open and its subparameters exposed), make sure the parameter’s disclosure triangle is open.
To publish an on/off checkbox for a filter or behavior 1 Select the filter or behavior whose activation checkbox you want to publish. 2 In the Behaviors or Filters Inspector, do one of the following: • In the header row of the behavior or filter, click the Animation menu (the downward triangle that appears when you place the pointer over the right side of the row), then choose Publish. • Control-click the behavior or filter name, then choose Publish from the shortcut menu.
2 In the Filters Inspector, select the Publish OSC checkbox. Select the Publish OSC checkbox to publish the filter’s onscreen controls. The Inspector parameters that onscreen controls manipulate are not published with the template. To control the parameters numerically when the template is added to a Final Cut Pro X project, the parameters must also be published.
µ To unpublish a parameter in the Inspector In the image layer or effect object’s Inspector, do one of the following: • Click the parameter’s Animation menu (the downward triangle that appears when you place the pointer over the right side of the parameter row), then choose Unpublish. • Control-click the parameter name, then choose Unpublish from the shortcut menu. To unpublish a parameter in the Publishing pane 1 In the Layers list, click Project.
The Text pane in the Final Cut Pro Inspector includes many of the same controls available in the Motion Text Inspector. If you want to control a parameter not included in the following list, publish that parameter in the title or generator template in Motion.
• Opacity slider. • Blur slider. • Radius slider. • The Text pane in the Final Cut Pro Inspector contains the following Drop Shadow parameters that appear in the Style pane of the Motion Text Inspector: • Color/Gradient/Texture controls: A group of controls used to set text drop shadow color, gradient, or texture, depending on which item is selected in the Drop Shadow pop-up menu. Click the disclosure triangle to adjust additional parameters. • Opacity slider. • Blur slider. • Distance slider. • Angle dial.
Important: If you don’t want your template animation scaled to fit the duration of the clip it is applied to in Final Cut Pro X, you can use markers to designate segments where the animation is locked. Additionally, you can use markers to designate sections where animation loops indefinitely in the Final Cut Pro project. For more information, see Working with Markers in Templates.
Animated effect templates are also scaled according to the duration of the clip they are applied to in Final Cut Pro. For example, if a template in Motion is 300 frames long, and the placeholder layer is animated to rotate 360 degrees (one complete rotation) from frames 0 to 300, when the template is applied to a 900-frame clip in Final Cut Pro, the complete rotation is stretched to 900 frames. You can override the timing adjustment in Final Cut Pro by applying markers to the template in Motion.
Working with Markers in Templates Markers are visual reference points you add to the Timeline to identify specific frames. There are seven types of markers. The first type, known as Standard, is designed for use in Motion and has no effect if saved in a Final Cut template. The Standard marker type can be added to an object (an object marker) or to the overall project (a project marker). The remaining marker types, known as template markers, are designed to control the timing of templates in Final Cut Pro X.
If no Build In or Build Out markers are present, the entire template is time-stretched to correspond to the duration of the clip when applied in Final Cut Pro. If Build In or Build Out markers are present, only the portion of the Motion project between the marker-defined intro or outro section is time-stretched; the marker-defined region retains its original timing.
When the Build In checkbox is selected in the Final Cut Pro Inspector, frames between the beginning of the project and the Build In – Optional marker play at the duration specified in the Motion project. When the checkbox is deselected, frames before the marker are not played. Build In – Optional marker This section is played regardless of the state of the Build In checkbox. The intro section is played only when the Build In checkbox is selected in the Final Cut Pro Inspector.
When the Build Out checkbox is selected in the Final Cut Pro Inspector, frames between the Build Out – Optional marker and the end of the project play at the duration specified in the Motion project. When the checkbox is deselected, frames before the marker are time-stretched and frames after the marker are not played. When the Build Out checkbox is deselected in the Final Cut Pro Inspector, this section is time stretched.
Setting a marker type to Project Loop End changes any marker set to a Build Out type back to Standard. Similarly, if a Project Loop End marker exists, adding an Outro marker resets the loop marker back to Standard. Tip: Adding a loop marker to the second frame in a template signals that the effect is time-invariant—the first frame of the project loops forever.
The Build In and Build Out markers appear as small green arrows in the Timeline ruler. The Project Loop Out marker appears as a small orange arrow. At the top of the ruler, the area specified as the intro, outro, or loop section displays a gold glow. For more information on the Edit Marker dialog, see Adding Markers. Template Resolution Before you create a template, decide what resolution your project requires.
For more information on working with shapes and masks, see Using Shapes, Masks, and Paint Strokes. Template Files and Media Save Location When you save a template, the project and all associated files are saved in your /Users/username/Movies/Motion Templates/ folder, organized by template type. The template types include Compositions (templates created in Motion for use in Motion), Effects, Generators, Titles, and Transitions.
In the Finder, templates are stored according to the following folder hierarchy: template type/category/theme. For example, a Final Cut Effect template saved to the Blur category and the News theme is stored in the Finder in the /Users/username/Movies/Motion Templates/Effects/Blur/News/your template name folder. Note: You can also sort by theme in the Motion Project Browser using the Theme pop-up menu. Each template folder contains the following items: • large.
Adding Multiple Display Aspect Ratios to a Template When creating a template for Final Cut Pro X, you can build alternate versions that have different display aspect ratios—all within a single template. For example, when you create a template with a 16:9 aspect ratio, you can add an alternate version customized for 4:3 displays. When the template is applied to a clip Final Cut Pro, the editing application chooses the version that matches its display aspect ratio.
3 Click the Add button (+) and choose a different aspect ratio from the shortcut menu. If you chose Custom, the Custom Display Aspect Ratio calculator appears. The new aspect ratio appears in the Display Aspect Ratio Snapshots list and the project adjusts. Note: You cannot add a snapshot that matches an existing Display Aspect Ratio snapshot. 4 To reposition your objects to better fit the new aspect ratio, click Edit Snapshot.
5 Enter the width and height in the fields to the right of the PAR value, such as 720 x 480. The new custom DAR is listed in the Display Aspect Ratio Snapshots list. Tips for Creating Templates To get the best results when creating custom templates, consider the following suggestions: • The first time you save a template that is a work in progress, deselect the Save Preview Movie checkbox in the save dialog. Doing so prevents Motion from creating a movie preview each time you save the draft template.
• When keying green screen or blue screen footage, using a keying template is not recommended. Footage should be keyed directly in its own project in Final Cut Pro or Motion. This is because the Keyer filter analyzes the footage it is initially applied to. For basic keying, use the Keyer or Luma Keyer in Final Cut Pro. For more advanced keying, build the composite in Motion using the Keyer filter. You can also render a keyed clip with its alpha channel and add the clip to a Final Cut Pro project.
Keyframes and Curves 12 Although behaviors are ideal for instantly adding complex motion or effects to an object, keyframes provide additional precision and flexibility. Keyframes ensure that a specific event happens at the exact frame you choose. When a movement or effect is timed to match a musical beat or a word in the soundtrack, a keyframe is the best tool for the job. Further, any effect where multiple objects are affected in a coordinated way is usually the result of keyframing.
• Animating on the Fly (p. 631) • Keyframe Thinning (p. 633) Keyframing in Motion Keyframing is the process of assigning a parameter value to an object at a point in time. For example, you might want a clip to be scaled to fill the screen five seconds into your project. When you set more than one keyframe, Motion interpolates the in-between frames, generating a smooth change over time. For example, if you want a title to change from green to blue over time, you can set two keyframes at two points in time.
You can also use the Inspector and HUD to set and modify values for most options in the application. Any time you adjust a slider or other control, you can lock that change to the current frame, thereby setting a keyframe. From that point on, no matter what else you do, that parameter finds its way to that specific value when playback reaches that frame. Preview area shows state of keyframed object at the current frame.
HUD displays current value of animated Opacity parameter. You can also view and modify keyframes in the Timeline by clicking the Show/Hide Keyframes button (in the top-right corner of the Timeline). Keyframes appear as small red (or white, when selected) diamonds beneath their parent object.
Additionally, you can open the Keyframe Editor by clicking the Show/Hide Keyframe Editor button (in the bottom-right corner of the Motion window). Using the Keyframe Editor, you can see and manipulate a graph for every animateable parameter in the application. Again, keyframes appear as diamonds, and the lines (or curves) connecting the keyframes indicate the values for the interpolated frames.
Keyframing Methods Motion provides two ways to animate your project: • Record Button: When the Record button is turned on, any adjustment to any parameter in the Canvas, Inspector, or HUD adds a keyframe. Record button • Initial Keyframe: After a keyframe is added to a parameter, any further adjustment to that parameter in the Canvas, Inspector, or HUD adds a keyframe at the current playhead position, independent of the state of the Record button.
After you set two or more keyframes in the project, Motion animates changes to the object between the keyframes. To scale an object over time using the Record button 1 Click the Record button (or press A) to turn on keyframe animation recording. You can also choose Mark > Record Animation. 2 Select an object in the Canvas. 3 Move the playhead to a new time position. 4 Resize the object by dragging a scale handle. 5 Click the Record button (or press A again) to turn off keyframe recording.
• In the Properties Inspector, click the Scale parameter’s Add/Delete Keyframe button. Add/Delete Keyframe button A keyframe is added at the current playhead position, and the parameter appears red in the Inspector. • In the Properties Inspector, click the Scale parameter’s Animation menu, then choose Add Keyframe. The Animation menu (the downward arrow) and the Add/Delete keyframe button appear when you move the pointer over the end of the parameter row in the Inspector.
Applying Movement to an Object in the Canvas The easiest way to apply keyframes is to manipulate objects directly in the Canvas while the Record button is active. Using this method, you can animate changes to basic parameters such as Scale, Rotation, Position, Distort, Anchor Point, Drop Shadow, Crop, and Four Corner. Although you can create similar object animations using behaviors, keyframing gives you the added flexibility to set specific parameter values on precise frames.
When the Record button is on and you move the playhead to a new frame, any change you make to an object generates new keyframes. When animating an object’s position, an animation path is created. Note: To view the animation paths of keyframed objects, ensure that Animation Path is selected in the View pop-up menu (in the upper-right corner of the main window, above the Canvas).
If the playhead is positioned on a previously set keyframe, changes you make modify that keyframe rather than the curve, regardless of whether the Record button is on or off. To move an object across the screen 1 Click the Record button (or press A) to turn on keyframe recording. 2 Place the playhead at the starting frame. 3 Place the object in a starting position. 4 Move the playhead forward. 5 Drag the object to the ending position. 6 Click the Record button (or press A) to turn off keyframe recording.
When you play back your project, the object flies from position one to position two over the interval you set. You can see the path the object travels by turning on the Animation Path setting in the View pop-up menu above the Canvas. Manipulating Animation Paths in the Canvas You can modify an animation path by adding keyframes to or deleting keyframes from the path, by dragging keyframes on the path, or by dragging a path segment between two adjacent keyframes.
After a keyframe is added to an animation path, you can change its location on the path. µ To reposition a keyframe Click the keyframe on the animation path, then drag it to its new position. You can convert Bezier keyframe points into Linear keyframe points to create an angled path, or you can turn Linear keyframe points into Bezier keyframe points to make the path curved again.
µ To disable an animation path’s keyframe point Control-click a keyframe and choose Disable Point from the shortcut menu. The keyframe is disabled and no longer influences the shape of the animation path. To enable the keyframe, Control-click the disabled keyframe, then choose Enable Point from the shortcut menu. You can also move the entire animation path, affecting the entire animation globally.
Even if you don’t change the slider’s value, clicking it sets an Opacity keyframe at that point. This way, the object remains at its previous opacity from the beginning of the clip until that keyframe, then begins the interpolation toward the next keyframe. • With the Record button off, click the Opacity slider handle in the HUD, then press Control-K. 3 Move the playhead forward to a new time. 4 Change the Opacity value. 5 Move the playhead forward again. 6 Change the Opacity slider again.
Animating Using the Inspector Although you can animate many attributes using the HUD, many other parameters are only accessible in the Inspector. Each section of the Inspector contains keyframeable parameters. You can animate the position and shape of a mask, the color and styles of a text object, or the options in the generators. The parameters that are keyframeable depend on which object is selected and which effects are applied to that object.
To animate parameters in the Inspector by setting an initial keyframe (Record button is off) 1 In the Canvas, select the object to keyframe. 2 Place the playhead on the frame where you want the effect to begin. 3 Open the Inspector pane corresponding to the parameter you want to modify. 4 Set the parameter to the beginning value, then do one of the following: • Press Control-K. • In the Properties Inspector, click the parameter’s Animation menu, then choose Add Keyframe.
Every keyframeable parameter has an Animation menu, available by Control-clicking a parameter’s name to reveal a shortcut menu, or by moving the pointer to the right side of a parameter row in the Inspector, and clicking the downward arrow that appears. Note: If the Animation menu corresponds to a parameter that cannot be animated, the Enable Animation and Keyframe menu items are dimmed.
• Publish: Sends the parameter control to Final Cut Pro X when you create and save a template for the editing application. The Publish command also lets you send rig controls (widgets) to Final Cut Pro. For more information on the Publish command, see Publishing Parameter Controls from Motion to Final Cut Pro X. For more information on rigging, see Using Rigs. • Enable/Disable Animation: Activates or deactivates the keyframed value.
µ To reset all keyframes for a parameter Click the Animation menu for the parameter you want to reset, then choose Reset Parameter. All keyframes are removed for that parameter. Keyframe Controls In the Inspector, basic keyframe controls are available on the right side of animateable parameter rows. These controls allow you to determine the status of a parameter at a glance, to add or delete keyframes at the current playhead, and to navigate to next and previous keyframes in the Timeline.
If a parameter is keyframed at the current frame, as well as before and after the current frame, three controls appear to the right of that parameter in the Inspector. Previous Keyframe Next Keyframe Add/Delete Keyframe Previous Keyframe: A left angle bracket that appears when there is a keyframe in the Timeline to the left of the playhead position. Click this control to move to a previous keyframe in the Timeline. Add/Delete Keyframe: A diamond-shaped button with several states.
Reset Button Each parameter set in the Inspector is equipped with a reset button. A parameter set might be a filter, or it might be a category of effects or transformations, such as Transform, Blending, Drop Shadow, or other items in the Properties Inspector. Reset button The reset button removes all keyframes applied to all parameters in the set and restores those parameters to their default state.
5 In the HUD, set the parameter slider you want to animate to a beginning value. 6 Move the playhead to the frame where you want the effect to stop changing. 7 Set the slider to a new value. New playhead position 8 Click the Record button (or press A) to turn off keyframe recording.
The filter now changes over time to reflect your settings. This same technique can be applied to any parameter in any filter that appears in the HUD. Filters can be animated in the Inspector. For more information, see Animating Using the Inspector. Animating Behaviors In addition to animating filter parameters, you can also animate behaviors.
Combining Behaviors and Keyframes Because it is possible to add keyframes to an object that can already have a behavior (or many behaviors) applied, these two methods might conflict. For example, you might apply a Throw behavior toward the upper left, and at the same time add keyframes that instruct the object to move to the right.
Or you can apply a Fade In/Fade Out behavior, but use keyframes on the object’s Opacity parameter to limit the maximum opacity to 80%. The clip fades in and out, and you can continue to modify the behavior’s attributes, but the object never exceeds the opacity value set by the keyframes. One method for handling behaviors and keyframes is to convert behaviors to keyframes. For more information, see Converting Behaviors to Keyframes.
Modifying Keyframes in the Timeline When keyframes are visible in the Timeline, you can change their positions in time by dragging them horizontally in the track. This does not modify the keyframe’s parameter value. Rather, it changes the position in time when the keyframe occurs. Although moving a keyframe in time does not change the parameter’s value, it can have a significant effect on the nature of the animation.
µ To delete all of an object’s keyframes in the Timeline Control-click any keyframe for the object to clear, then choose Delete All Keyframes from the shortcut menu. For more control of effects using keyframes, you can use the Keyframe Editor. Any keyframe in the Timeline can be viewed in the Keyframe Editor using the shortcut menu. Note: Although you can delete keyframes in the Timeline, there is no way to add keyframes in the Timeline.
You can see in the screenshots below that changing the duration of an object has no effect on keyframes applied to its parameters in the Properties Inspector. Object parameters such as Position, Rotation, Scale, Opacity, and so on remain unaffected. Trimming Objects Without Retiming Keyframes If you press Command while resizing an object bar with effects applied in the Timeline, the object is trimmed without altering the timing of its keyframes.
For example, in the real world, when objects move, they observe rules of physics, such as inertia and momentum. Motion’s Keyframe Editor allows you to simulate these effects in your motion graphics. The curves of animated parameters also provide another way of understanding how an effect changes over time. Curves are laid out in a graph where you can compare them, one over another.
µ µ Choose Window > Keyframe Editor. Press Command-8. Parts of the Keyframe Editor The Keyframe Editor is made up of a list of parameters on the left and a multifunctional graph on the right. Show Curve Set pop-up menu Keyframe edit tools Control buttons Curve graph Zoom/scroll control Show Curve Set Pop-Up Menu The Show Curve Set pop-up menu lets you filter the parameters in the Keyframe Editor, allowing you to focus on those parameters you want to modify.
Parameter List Any keyframeable parameters of selected objects can be displayed in the list on the left side of the Keyframe Editor. This includes object properties, filters, and behaviors. By selecting multiple items in the Layers list or Timeline, you can compare parameters across multiple objects. The parameter list contains the following items: Activation checkbox: Checkboxes in the left column set which parameters are displayed in the graph.
Animation menu: The Animation menu appears in the fifth column. To open this menu, position the pointer over this column, then click the inverted arrow that appears. The Animation menu in the Keyframe Editor contains all commands found in the Inspector’s Animation menu, plus a few additional commands: Animation menu • Enable/Disable Animation: Activates or deactivates the keyframed value. Choosing Disable Animation hides the keyframes you set, restoring the parameter to its default value.
• Interpolation: Sets the type of curve for the parameter. See Modifying Curves for examples of the different interpolation methods. Choose Constant, Linear, Bezier, Continuous, Exponential, or Logarithmic. • Before First Keyframe: Defines what happens between the first keyframe and the beginning of the clip. See Extrapolation for examples of extrapolation methods. Choose Constant, Linear, Ping Pong, Repeat, or Progressive. You can also turn the extrapolation into keyframes by choosing Generate Keyframes.
The body of the graph displays the keyframes and curves of active parameters (those in the parameters list). Each curve is a different color, although some colors are duplicated. Control Buttons In the Keyframe Editor, several buttons provide additional control over the Keyframe Editor window: Choose Background Audio Waveform: A pop-up menu that lets you turn on the display of audio waveforms for the selected item in the background of the graph.
When you click the Fit Visible Curves in Window button (shown below), Motion rescales the graph vertically and horizontally so the curve is entirely visible. When you click the Auto-Scale Vertically to Fit Curves button (shown below), Motion rescales the graph vertically so the curve is entirely visible. When you use either of these buttons, the values of your keyframes are not changed. Take/Show Curve Snapshot: A button that, when clicked, shows the state of all curves in the Keyframe Editor.
This can be disconcerting because it might appear that a curve refuses to get bigger even as you drag a keyframe. However, if you watch the values at the left side of the window, you can see that the graph is zoomed vertically to make room for your wider range of values. Viewing the Keyframe Editor on a Second Display You can show the Keyframe Editor on a second display, providing a larger workspace for modifying keyframes and curves.
Dynamic Curve Sets Alternatively, you can use the Show Curve Set pop-up menu to limit the display to dynamic parameters—parameters with keyframes, for example. There are three options in the Show Curve Set pop-up menu that show dynamic parameters: Animated, Modified, and Active. µ To view only animated (keyframed or behavior-influenced) parameters Choose Animated from the Show Curve Set pop-up menu. Parameters with keyframes are displayed.
Custom Parameter Sets In addition to using the built-in curve sets, you can make and manage your own using the last two options in the Show Curve Set pop-up menu: New Curve Set and Manage Curve Sets. As you create and store custom parameter sets, they appear in the Show Curve Set pop-up menu, allowing you to switch between them. Deleting, duplicating, and modifying custom sets is done in the Manage Curve Sets dialog (accessible from the Show Curve Set pop-up menu).
Note: If Animated is chosen from the Show Curve Set pop-up menu when you use the Show in Keyframe Editor command from the Animation menu, an untitled curve set is created. µ To delete a parameter from a custom set Drag the parameter out of the list. µ To delete all parameters from a custom set Click the Clear Curve List button in the top-right corner of the Keyframe Editor. To delete a custom parameter set 1 Choose Manage Curve Sets from the Show Curve Set pop-up menu.
5 Click Done to close the dialog. The new set now appears in the Show Curve Set pop-up menu. These sets are saved with the project, so each time you reopen the project, they are available. You can store as many parameter sets as you like. After you store a set, you can change or delete that set as needed. You can switch back and forth between custom curve sets that contain common animated parameters by using the Manage Curve Sets dialog.
Animation curves saved to the Favorites Menu category can be applied to objects using the Favorites menu. To save an animation curve to the Library 1 Open the Library and select the Favorites or Favorites Menu category. 2 Drag the name of the parameter animation curve to save from the parameter list in the Keyframe Editor into the stack at the bottom of the Library.
Using the Edit Keyframes Tool To use the following set of instructions, select the Edit Keyframes tool (above the Keyframe Editor parameter list. µ µ To add a keyframe Choose Add Keyframe from the Animation menu for any parameter to add a keyframe at the position of the playhead. To add a keyframe to an existing animation curve Double-click or Option-click the animation curve. Curves created when keyframes are added are set to the interpolation method used by the rest of that curve.
When dragging a keyframe in the graph, numbers appear indicating the position and value of the keyframe. The first number is the frame number (or timecode number) and the second number is the parameter value. Frame number Keyframe value When you drag two keyframes closer along the X axis, the transformation between those values happens more quickly. When you drag keyframes farther apart from each other, the change happens more slowly.
µ Drag in the value slider in the parameter list. • Drag to the right to increase the value of the keyframe along the Y axis. • Drag to the left to decrease the value of the keyframe along the Y axis. • Press Shift while dragging to change the value in increments of 10. • Press Option while dragging to change the value in increments of .01. To move a keyframe in time by a specific number of frames 1 Select keyframes.
Reversing, Locking, and Disabling Keyframes You can reverse keyframes to reverse the corresponding animated effect without re-animating it. Further, you can lock keyframes (individually or in groups) if you have a complicated curve and you want to prevent further adjustment. Finally, you can disable an entire curve to suspend animation for that parameter. To reverse keyframes 1 In the graph area Keyframe Editor, drag a bounding box to select the keyframes to reverse.
Note: If the curve appears white (and not the keyframe), the keyframes are not selected. µ To copy selected keyframes Choose Edit > Copy (or press Command-C). µ To cut selected keyframes Choose Edit > Cut (or press Command-X). To paste the keyframes, select the parameter you want to paste to, and the place where you want the pasted keyframes to begin. To paste keyframes 1 Select the destination parameter in the parameter list (on the left side of the Keyframe Editor).
Using the Sketch Keyframes Tool The Sketch Keyframes tool (next to the Edit Keyframes tool) allows you to sketch animation curves in the Keyframe Editor graph area, creating keyframes as you go. To sketch a curve, the parameter to animate must first appear in the parameter list. See Custom Parameter Sets for methods of displaying curves. To sketch an animation curve 1 In the parameter list, select the parameter to sketch. 2 Select the Sketch Keyframes tool (above the parameter list).
To add a keyframe using the Sketch Keyframes tool 1 Select the Sketch Keyframes tool (above the parameter list). 2 In the parameter list, select the parameter. 3 Click in the graph area to add a keyframe. Additional clicks create additional individual keyframes. Using the Transform Keyframes Tool The Transform Keyframes tool allows you to drag a selection box around a number of keyframes, then manipulate their positions by adjusting the handles of the selection box.
A selection box with eight handles appears in the graph area. Selection box handle After you draw a selection box, you can manipulate the box and keyframes in several ways. Drag a handle of the selection box to move the keyframes. Important: When transforming keyframes using the Transform Keyframes tool, by default keyframes are adjusted in whole-frame increments.
Moving left and right repositions the keyframes in time, and moving up and down increases and decreases the parameter values of the keyframes. Note: No matter where you drag the box, only the keyframes selected by the original box are manipulated, even if the repositioned box overlaps keyframes outside of the original selection. To manipulate additional keyframes, redraw the selection box in the graph area.
Curve Snapshots When modifying keyframes, it is often helpful to have a frame of reference for your curves. A saved reference of curves lets you compare modified curves to the original curves. Additionally, a saved reference—known as a curve snapshot—acts as a safety net if you need to restore a curve’s original state. µ To take a curve snapshot Click the Take/Show Curve Snapshot button in the upper-right corner of the Keyframe Editor.
Modifying Curves The Keyframe Editor lets you make changes to the curves between keyframes. This might be the Keyframe Editor’s most valuable feature. Although you can manually create nearly any curve shape to create the animation you want, Motion also provides tools to control the automatic interpolation and extrapolation of parameter values. To set the interpolation for a curve, you select the keyframe you want to modify.
When different interpolation methods are applied to segments of an animation curve, the methods used in the curve appear with a dash next to their name in the Interpolation submenu (in the Keyframe Editor parameter list). Interpolation methods include the following: • Constant: This method holds the keyframe at its current value when applied to a segment or keyframe and then abruptly changes to the new value at the next keyframe.
• Continuous: This method behaves like Bezier interpolation, but without access to the handles (which are calculated automatically). The parameter begins to change gradually, reaching its maximum rate of acceleration at the midpoint, then tapers off slightly as it approaches the second keyframe. When applied to a keyframe, the segments before and after the keyframe are affected. When applied to a curve segment, the segment between the keyframes is affected.
• Ease Out: This method creates a typical inertia-like lag, so a value change begins more slowly coming out of a keyframe. When applied to a curve segment, the value change eases out of the segment. This option is available only when you Control-click a keyframe; it is not available in the Animation pop-up menu. • Ease Both: This method combines Ease In with Ease Out, applying both at once. This option is available only when you Control-click a keyframe; it is not available in the Animation pop-up menu.
To change the interpolation method for multiple parameters 1 In the parameter list of the Keyframe Editor, Shift-click to select multiple parameters. 2 Click in the fifth column of the Keyframe Editor parameter list to open the Animation menu, then choose a method from the Interpolation submenu. The selected interpolation method is applied to all selected curves. Convert to Bezier Bezier interpolation is the most flexible, allowing manual modification of the curve.
µ To constrain a handle’s angle to 45-degree increments While holding down the Shift key, drag the handle. Extrapolation In addition to setting interpolation for areas between keyframes, you can define how Motion generates the values before the first keyframe and after the last one. This is known as extrapolation. When you set a such a method for a parameter, keyframes are added beyond your original keyframes, which is useful to extend the duration of an effect such as a moving background.
µ µ To apply an extrapolation method to a parameter before the first keyframe Click in the fifth column of the parameter list in the Keyframe Editor to open the Animation menu for the parameter to change, then choose an item from the Before First Keyframe submenu.
The following extrapolation options are available in the Before First Keyframe and After Last Keyframe submenus: • Constant: This method, the default, holds the beginning or ending segments of the curve to the same value as the first or last keyframe. • Linear: This method extends the curve beyond the first or last keyframes uniformly, along the existing trajectory of the first or last keyframe. • Ping Pong: This method copies the curve and repeats it, alternating forward and backward.
• Repeat: This method duplicates the curve, applying it again and again. • Progressive: This method extends the curve by repeating the existing shape of the curve, but rather than returning to the exact values, repeats from the existing end value.
Generate Keyframes Command Ordinarily, keyframe extrapolation occurs without creating keyframes. This lets you experiment with various methods. However, you can convert an extrapolation method into keyframes to further manipulate them. This is done using the Generate Keyframes command. You can choose how many extrapolation cycles you want converted into keyframes. Cycles after the number chosen remain in the extrapolated state.
To convert extrapolation data into keyframes 1 In the Keyframe Editor’s Animation menu, choose Generate Keyframes from the Before First Keyframe or After Last Keyframe submenu. The Generate Keyframes dialog appears. 2 Choose the number of cycles to be keyframed. 3 Click OK to confirm your selection. Mini-Curve Editor Similar to the Keyframe Editor, mini-curve editors provide a way to animate parameters outside the Keyframe Editor’s interface using keyframes in a graph.
The expanded mini-curve editor appears. Mini-curve editor Auto Fit checkbox Edit Keyframes tool Transform Keyframes tool Sketch Keyframes tool When expanded, the mini-curve editor shows a representation of the relevant animation curve. In the example above, the Over Life parameter is mapped to the X axis and the Custom Spin parameter is mapped to the Y axis. The procedure for adding keyframes in a mini-curve editor is slightly different than adding them in the full-sized Keyframe Editor.
The mini-curve editor provides the Edit Keyframes, Sketch Keyframes, and Transform Keyframes tools, and each functions in the same manner as in the Keyframe Editor. For more information on using the Edit Keyframes tool, see Using the Edit Keyframes Tool. For more information on using the Sketch Keyframes tool, see Using the Sketch Keyframes Tool. For more information on using the Transform Keyframes tool, see Using the Transform Keyframes Tool.
To delete keyframes Do one of the following: µ µ µ Select a keyframe, then press Delete. Control-click a keyframe, then choose Delete from the shortcut menu. Select a keyframe, then choose Delete from the Animation menu for that parameter. Note: To delete all keyframes for a parameter, choose Reset Parameter from the Animation menu in the Keyframe Editor parameter list or Inspector. Handmade Motion in the Canvas A common use for animating on the fly is to create handmade animation paths.
Keyframe Thinning When a parameter contains at least one keyframe, or when the Record button is on, a keyframe is added every time you modify a parameter at a new playhead position. If you animate while the project is playing, you create a keyframe at every frame. This doesn’t cause a problem until you want to modify the curve. In many cases, the curve created by your animation can be represented using fewer keyframes.
Recording Options The Recording Options dialog allows you to adjust the Keyframe Thinning setting or to disable recording during playback. The Keyframe Thinning setting applies to recording animation while playing back. This setting has no effect on ordinary keyframing. To access Recording Options Do one of the following: µ µ Choose Mark > Recording Options (or press Option-A). Double-click the Record button (under the Canvas). The Recording Options dialog appears. Choose a thinning option, then click OK.
• Reduced: Motion eliminates keyframes that can easily be replaced with a simple curve. • Peaks Only: Only keyframes with dramatic value changes are recorded. Don’t record keyframes during playback: Select this checkbox if you don’t want keyframes to be recorded while the project is playing back. Disabling Animation While Playing If the Record button is on or a parameter contains at least one keyframe, keyframes are added when you make parameter adjustments.
13 Keying Keying is the process of isolating a foreground subject against a background area of uniform color or brightness to generate an alpha channel (a matte) based on the shape of the colored area. Keying is commonly performed on subjects photographed against a blue- or green-colored background, but keys can be based on any color (color keying), or on a specific range of brightness values (luma keying).
Important: Keying to isolate a foreground subject is not always easy; it takes time and patience to learn how to use the parameters in each filter to achieve the best effect. Most keys are “pulled” using more than one tool. Good compositing artists usually combine masked keyer filters, matte adjustment filters, spill suppression operations, and garbage or holdout masks to isolate a single subject. The Keyer filter in Motion combines many of these operations within a single set of parameters.
Keyer After you apply the Keyer filter to a video or image layer in your project, you can modify and refine the keying parameters in the Filters Inspector or HUD. This section explains the operation of the tools and parameter controls found in the Keyer section of the Filters Inspector. Parameters in the Inspector Refine Key: Use the Refine Key tools to manually sample regions of an image to modify the tolerance, or core transparency, of the generated key.
After you create a selection box, you can resize it to sample more or fewer shades of color, increasing or decreasing the range of background color used to create transparency. You can also add more selection boxes to expand the range of color that is keyed. You can also add more sample color boxes at other frames of the clip to maintain transparency when lighting conditions change. To add selection boxes, select the Keyer filter in the Layers list, then hold down the Shift key while dragging in the Canvas.
Note: To remove a Sample Color selection box or Edges control, select the box or control, then press Delete. Alternatively, Option-click inside the selection box or control line. Strength: Use this slider to adjust the tolerance (core transparency) of the Keyer filter’s automatic sampling. The default value is 100%. Reducing this value narrows the range of color sampled, resulting in less transparency in the keyed image.
• Matte: When selected, the middle button displays the grayscale matte, or alpha channel, generated by the keying operation. Viewing the alpha channel directly lets you evaluate the parts of the generated matte. Areas in the matte that appear white are visible in the final composite; areas that appear black are transparent; and areas with shades of gray are semitransparent (lighter grays being more solid, and darker grays being more).
The color that’s suppressed in the final image is based on the sampled portion of the image. The Spill Level slider controls how much spill suppression is applied to the keyed subject. For example, if the subject was shot in front of a green screen background, increasing the Spill Level value adds magenta to the foreground image, which neutralizes any unwanted green cast that your subject may be exhibiting.
Before you adjust these controls, the graphs in the Chroma and Luma controls represent ranges of color and luma in the image that have been automatically and manually sampled (using the Refine Key tools and the Strength slider). • Graph: Select one of two buttons to set how the adjustable graphs in the Chroma and Luma controls are used to fine-tune a key: • Scrub Boxes: Select this button to limit the Chroma and Luma controls to adjusting softness (edge transparency) in the matte you are creating.
It’s possible to zoom into and pan around the Chroma control to more precisely adjust the graphs: • Zooming the Chroma control: To zoom incrementally into the Chroma control, hold down the Z key and click the color wheel. To zoom out, hold down the Option and Z keys and click the color wheel. To smoothly zoom out, hold down the Z key and drag left in the color wheel. To smoothly zoom in, hold down the Z key and drag right in the color wheel.
• Luma Rolloff: Use this slider to adjust the linearity of the luma rolloff slope (the ends of the bell-shaped luma curve displayed in the Luma control). Luma rolloff modifies the softness of the matte around the edges of regions that are affected most by the Luma control. Lowering this value makes the slope between the upper and lower handles in the Luma control more linear, which increases edge softness in the matte.
• Shrink/Expand: Use this slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte. • Soften: Use this slider to blur the keyed matte, feathering the edges by a uniform amount.
• Black, White: Click the disclosure triangle in the Spill Contrast row to reveal sliders for the Black and White point parameters. These sliders, which mirror the settings of the Spill Contrast handles described above, allow you to keyframe the Black point and White point parameters (via the Add Keyframe button to the right of each slider). • Tint: Use this slider to restore the natural color of the keyed foreground subject.
Important: A separate Light Wrap option appears in the Blend Mode pop-up menu of the Properties Inspector for selected layer or group in Motion. The Light Wrap blend mode in the Properties Inspector for a layer is ignored when you add a Keyer filter to that layer and set the Light Wrap Amount parameter to a value greater then 0. (The Light Wrap parameters of the Keyer filter take precedence.
How to Use the Keyer Filter Getting started with the Keyer filter is easy. Here’s an example. To create a key 1 Import a background image into your project. This example uses a high-resolution still image of an orange sky at sunset. 2 Import a foreground image or video clip of a subject positioned in front of a green screen or blue screen. This example uses video footage of an actor standing in front of a green screen.
4 If the automatic key is too aggressive (keying out soft details of the keyed subject that you want to preserve), slowly drag the Strength slider left to reduce the tolerance (core transparency) of the matte until you’re satisfied with the amount of edge detail in the key. Doing so allows areas of marginal transparency like hair, smoke, and reflections to show through.
3 In the Filters Inspector (or HUD), click to select the Sample Color tool. 4 In the Canvas, drag a selection box over an area of the green screen color that you are attempting to key. Most of the green screen should disappear and be replaced by the image in the layer underneath the foreground layer in the Layers list (in this example, the orange sunset sky).
If the edges of the foreground subject are too sharp, use the Edges tool to soften the foreground edges. The Edges tool is also effective for fine-tuning semitransparent features such as smoke, glass reflections, and shadows. 5 In the Filters Inspector or HUD, click to select the Edges tool. 6 In the Canvas, drag a line over the edge of the foreground subject so one end point lies in the interior of the foreground subject and the other end point lies in the background (the orange sky).
For additional control over the transparency matte, use the Color Selection controls and the Matte Tools in the Filters Inspector. These controls provide options for creating a seamless composite without adding more Keyer filters. To refine a key using the Color Selection controls 1 With the Keyer filter selected in the Layers list, set the View mode in the Filters Inspector to Matte. Matte mode lets you see how your adjustments affect the transparency of the image.
4 Depending on the mode you selected in the previous step, adjust the controls to alter your matte: • In Scrub Boxes mode, drag any side of the outer graph in the Chroma control to alter the range of hue and saturation contributing to the matte’s edge softness (transparency around the edges of the key). Note: In Scrub Boxes mode, you can also drag the two lower handles of the Luma control to alter the range of lightness and darkness contributing to the matte’s edge softness.
In either mode, expanding the Chroma graph or Luma handle outward increases the regions of transparency in the keyed image. Dragging the side of a Chroma graph or a Luma handle inward diminishes the transparent regions in the keyed image. In the example below, the top image shows the holes in the matte that result from increasing edge softness using the outer graph of the Chroma control. The bottom image shows how reducing edge softness closes these holes.
To refine a key using Matte Tools 1 With the Keyer filter selected in the Layers list, set the View mode in the Filters Inspector to Matte. Matte mode lets you see how adjustments affect the transparency of the image. The keyed image appears in grayscale: white areas represent solid pixels in the final matte; black areas represent transparent pixels in the final matte; and varying levels of gray represent translucent pixels in the final matte (darker gray is more transparent; lighter gray is more opaque).
5 Drag the Soften slider right to blur the matte overall, resulting in softer edges throughout the matte. Original matte Softened matte 6 Drag the Erode slider right to soften the matte from the edge inward, while preserving the original matte outlines as a translucent outer boundary. Original matte Eroded matte Animating Parameters in the Keyer Filter If necessary, you can animate the parameters of the Keyer filter to account for changes in the background screen you’re keying.
There are two ways of doing this. You can use the Refine Key controls (Sample Color and Edges) to sample background colors on multiple frames, or you can set manual keyframes using the Animation pop-up menu and keyframe controls found in the Filters Inspector.
Luma keys are most effective when you’re keying a subject with a range of lightness different from the area you’re turning transparent. For example, if you’re keying a black background, the foreground subject should not have have deep shadows or dark areas that might get keyed with the background. Generally speaking, shadows and highlights in the image usually make this a difficult filter for pulling a perfect key. Luma Keyer The Luma Keyer filter appears to have similar controls to the Keyer filter.
Luma Rolloff: Use this slider to adjust the linearity of the falloff between the Luma control’s tolerance and softness handles. Modifying this parameter changes the softness of the matte around the edges in regions that are affected most by the Luma control. Decreasing the Luma Rolloff value makes the slope between the two handles of the Luma control more linear, which visibly increases edge softness.
• Edge Distance: Use this slider to adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Reducing this parameter brings the solid, nontransparent area of the matte closer to the edge of the subject being keyed, sacrificing translucence at the edges in favor of filling unwanted holes at the edge of the keyed subject, or retrieving areas of semitransparent detail, such as hair, smoke, or reflections.
Light Wrap is the last operation in the image-processing pipeline. In other words, the light-wrap effect is added after every other image operation is processed, including filters, lights and shading, and other composited effects. As a result, Light Wrap accounts for any visual effect that might alter the look of the object it is applied to, yielding the most desirable result.
Mix: Use this slider to set the percentage of the original image to be blended with the keyed image. 100% is the fully keyed image, while 0% is the original, unkeyed image. HUD Controls The HUD contains the following controls: Luma and Luma Rolloff. Keying Refinement Filters The Matte Magic and Spill Suppression filters help you refine composites that use transparency mattes to merge one image with another. The Keyer and Luma Keyer filters have much of this functionality.
Spill Suppression When you key an image that was shot against a blue screen or green screen, some color will have reflected from the screen to illuminate the edges, or even the interior, of the foreground subject. This unwanted coloration of the subject is called spill, and can be difficult to eliminate from the foreground subject you’re trying to preserve.
HUD Controls The HUD contains the following controls: Color, Level, Tint, and Saturation.
Working with Particles 14 Particle systems allow you to create sophisticated effects involving large numbers of automatically animated objects. You can use the included Particle Emitters library to add a premade particle system to your composition, or you can create your own custom particle effects using nearly any image layer or group in your project. Particle systems in Motion are flexible enough to create many different effects. This chapter covers the following: • About Particle Systems (p.
• Applying Filters to Particle Systems (p. 722) • Particle System Examples (p. 722) • Saving Custom Particle Effects to the Library (p. 731) About Particle Systems Particle systems consist of two basic elements: a cell and an emitter. Think of the cell as the “mold” for the particles generated by the emitter. You can use nearly any layer or group in Motion as a source for a particle cell, including images, shapes, text, movies, and image sequences.
Anatomy of a Particle System Every particle system is made up of an emitter and one or more particle cells. Each cell appears as a sublayer underneath the emitter in the Layers list and the Timeline (click the disclosure triangle beside the emitter layer to hide or reveal its sublayers). Original object (disabled) Emitter Cell (with behaviors applied) The emitter and cells have separate sets of parameters that control the particle system’s behavior.
You can also track an emitter to a moving object in a clip, or apply existing tracking data in your project to an emitter. For more information on using the Motion Tracking behaviors, see Motion Tracking. In addition, you can add behaviors to each cell or to the emitter to create even more varied effects (simulation behaviors can be especially effective). Any behavior that you apply to a cell is in turn applied to each particle it generates. This lets you achieve almost limitless variation.
Using Particle Systems Despite their sophistication, particle systems are easy to set up and simple to use. This section describes how to use premade particle systems from the Particle Emitters category of the Library. Afterward, this section explains how to create a simple particle system of your own. Particle Systems and Layer Sizes Particle systems often create particles that grow or move off the Canvas before they die.
Using the Particle Library The easiest way to add a particle system to your project is to use a preset in the Particle Emitters category of the Library. There are many types of particle effects to choose from. If you find one close to what you need, you can easily customize its parameters after you add it to your project. Particle systems are added to a project exactly like any other object. To add a particle system from the Library 1 In the Library, click the Particle Emitters category.
4 When you find a particle preset you want to use, do one of the following: • Click Apply to add the selected particle system to your project at the center of the Canvas. Note: If Create Layers At is set to “Start of project” in the Project pane of Motion Preferences, the particle system is added at the first frame. • Drag the particle system from the Library stack into the Canvas to the position where you want it to appear.
The HUD displays a selected particle system’s most essential parameters, including the size and number of particles created, how long they remain onscreen, how fast they move, and the direction and area in which they travel. Select an individual cell in the Layers list or Timeline to edit its parameters in the HUD. For more detailed information on using the particle HUD, see Customizing a Particle System Emitter.
3 Select the object, then do one of the following: • In the toolbar, click the Make Particles button. Create a particle emitter. • Press E. After you add an emitter to the project, the following occurs: • An emitter appears in the Layers list and is selected. • A cell containing the image to be “particle-ized” appears underneath the emitter. • The original source layer (the cell source) is disabled.
By default, the first frame of a new particle system (with a single cell) has one particle. If you play your project (press Space bar), additional particles are generated and emerge from the center of the emitter. By default, new cells emit one particle per frame in all directions (for 30-fps projects), and each particle moves 100 pixels per second away from the emitter over a lifetime of 5 seconds (150 frames in a 30-fps project).
The Predictability of Particle Systems When you create a particle system or modify a parameter of an existing particle system, the path of each particle is immediately calculated and predetermined. Although the number and motion of particles might seem random, they are completely predictable based on that system’s parameters. Playing the same particle system twice with the same parameters results in exactly the same particle motion.
Before making adjustments to the selected particle system, it can be helpful to drag the playhead forward in the Timeline to a frame where you can see the particle system in full effect. That way, any adjustments you make are readily apparent. In this example , the size of each particle is so big, it’s hard to make out any texture in the particle system.
As you drag, both points defining the emission range rotate around the center of the emission control symmetrically. When the emission range forms the rightward angle shown below, release the mouse button. (As you adjust the emission range, the particles rearrange themselves in the Canvas, enabling you to see the resulting effect.
4 In the Emitter HUD, drag the Birth Rate slider to the right to increase the number of particles created by the emitter. As you increase the birth rate, more particles are created, forming a nearly unified column of “smoke.” The particles move farther apart as they drift away from the emitter. As you can see, a single object can be used to create a credible column of smoke rising gently into the sky.
When 3D is enabled in the Emitter Inspector, the Emitter HUD offers additional 3D controls. In 3D, the emission control modifies the Emission Latitude and Emission Longitude parameters. Emission control (pointed and spread upward) When an emitter and the 3D Transform tool (in the toolbar) are selected, the 3D Emitter HUD expands to display additional controls that allow you to transform the emitter in X, Y, and Z space, regardless of whether the group containing the emitter is 2D or 3D.
For particle systems containing multiple cells, the Emitter HUD parameters simultaneously modify the effect of each cell’s parameters relative to one another. This means that for a particle system consisting of two cells with different scale values, changing the scale in the HUD resizes both cells simultaneously. For example, increasing the scale in the HUD by 200% does not change the scale of both cells to 200%, but resizes the cells relative to their original scale values.
Use the following modifier keys to more precisely manipulate the graphical emission control in the HUD: • Shift (while adjusting Emission Angle): Restricts angles to 45 degree increments. • Shift (while adjusting Emission Range): When working with a 2D emitter, restricts to 22.5-degree increments. • Command: When working with a 2D emitter, adjusts Emission Angle only. • Option: When working with a 2D emitter, adjusts Emission Speed only.
Drag the Emission Range slider (above the sphere) to define the range of degrees at which particles are generated. In other words, this control defines the size of the cone that the particles fill when generated in 3D space. Particle Emitters and the Properties Inspector Emitter parameters can also be modified in the Properties Inspector.
Transform Parameters As a particle system plays, the cells in the system are duplicated, according to the parameters for that system, to create each particle in the Canvas. Because all particles emerge relative to the position of the emitter, changing the emitter’s position in the Canvas also changes the position of every particle in that system.
Modifying an emitter’s other transformation parameters (Rotation, Scale, Shear, and Anchor Point) changes the distribution of particles from that emitter and transforms each particle. For example, if you create an emitter, then modify its Shear parameter, the distribution of the emitted particles changes to reflect the new plane of the emitter, and the particles are sheared along the same plane.
Drop Shadow Drop shadows can be applied to a 2D particle system, to the emitter as a whole, or to the individual particles in the system. To apply a drop shadow to the emitter as a whole, select the emitter, then select the Drop Shadow activation checkbox in the Properties Inspector. Note: The Drop Shadow parameter is not available in the Properties Inspector for the emitter when the Box or Sphere emitter shape, or the 3D checkbox, is selected in the Emitter Inspector.
For example, you can create a particle system that simulates an explosion by offsetting the appearance of three types of particles. First, dense white sparks emerge from the center. Half a second later, more diffuse orange blast particles appear around a larger area. One second after that, hot smoke emerges from underneath both of these layers as they fade away. You can offset a cell in the Timeline or mini-Timeline to start before the emitter.
Graphics Size If you are unsure what size you want your particles to be, it’s a good idea to make your graphics larger rather than smaller. Increasing the size of particles beyond the size of the original graphic can introduce unwanted artifacts. One caveat, however, is that the larger the cell source size, the slower your playback performance. Particle Edges The quality of the edges of your graphics can be extremely important for creating convincing particles.
Minimal Compression Ideally, QuickTime clips to be used as particles should be saved using a high-quality codec, such as Animation, Uncompressed 8- and 10-bit 4:2:2, or ProRes 4444. Other codecs can be used, but they might introduce unwanted artifacts depending on the level of compression used. There is an option to use random start frames, which causes the clips to play out of sync relative to one another in the Canvas. There is also an option to play or not play the clip.
The Cell controls appear.
Single Cell Versus Multi-Cell Emitter Parameters If a particle system has only one cell, the Emitter Inspector displays all parameters for the cell, as well as the emitter’s own parameters. In this case, you can control every aspect of the particle system from this single Inspector, which saves you from going back and forth between the Emitter and Particle Cell Inspectors.
If a particle system has two or more cells, the Emitter Inspector looks much different. The list of parameters is much shorter, and the majority of the cell parameters are replaced with a smaller group of Master Controls (hidden by default).
Changes made using the Master Controls modify the effect of each cell’s parameters relative to the other cells in the system. This means that for a particle system with three cells that have different Scale values, increasing the Scale parameter in the Emitter Inspector multiplies the Scale value of all three cells by the same percentage. This has the result of increasing or reducing the size of every particle in the system, while keeping the size of each particle relative to one another the same.
Important: The emitter parameters in the Properties and Emitter Inspectors can be keyframed to change values over time. Emitter Parameters in the Inspector These parameters (in the Emitter Controls group) determine how particles are distributed and rendered in your project. The Emitter Inspector has a large number of parameters, some of which depend on the settings of other parameters in the Inspector. All combinations of parameters are described below.
• Line: Particles emerge from a line. Using the onscreen controls (with the Adjust Item tool) or the Properties Inspector, you can specify the length and location of the line. In the Inspector, you can set a specific number of points where particles emerge. This emitter shape is good for creating sheets of particles that cascade over a wide area. The Line shape displays additional parameters. • Rectangle: Particles emerge from a rectangle along its edge, or in a tile-fill or random-fill pattern.
• Circle: Particles emerge from a circle-shaped emitter. Particles can be emitted in an outline, tile-fill, or random-fill pattern. This emitter shape is good for surrounding an element in a composition with particles that emerge from its edge. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the circle. Depending on the selected Arrangement, the Circle emitter shape displays additional parameters.
• Spiral: Particles emerge from a spiral pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the spiral. The Spiral shape displays additional parameters. • Wave: Particles emerge from a waveform. Using the onscreen controls (with the Adjust Item tool) or the Start Point and End Point parameters in the Emitter Inspector, you can specify the length and location of the wave. The Wave shape displays additional parameters.
To apply a shape as the geometry shape source for a particle emitter, drag the shape to the Shape Source well in the Emitter Inspector (after Geometry is chosen from the Shape pop-up menu). • Image: Particles emerge from within an area defined by an image or from only the edges of the image. The image may or may not have an alpha channel. If it does, the shape of the alpha channel can also be used to define the emitter shape. The Image shape displays additional parameters.
• Box: This option is available when the 3D checkbox is selected in the Emitter Inspector. Particles are emitted from a three-dimensional cube along its surface (Outline), or in a tile-fill or random-fill pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the rectangle.
Size: This slider becomes available when Rectangle or Box is chosen in the Shape pop-up menu. Defines the size of the rectangle or cube from which particles are emitted. The Size slider is available whether the Arrangement is set to Outline, Tile Fill, or Random Fill. When Rectangle is the selected shape, the Width and Height parameters become available. When Box is selected, an additional Depth parameter is available.
Start Point: This parameter, which becomes available when Shape is set to Line or Wave, consists of two value sliders that define, in X and Y coordinates, the first point of the line used as the emitter shape. Click the disclosure triangle to modify the Z position of the start point. You can adjust these values in the Canvas using the onscreen controls (with the Adjust Item tool).
Number of Arms: This slider, available when Burst or Spiral is chosen in the Shape pop-up menu, defines the number of branches from which particles are emitted. The default value is 3. Spiral emitter shape set to default Number of Arms and Twists Spiral emitter shape with default Arms and Twists set to .70 Amplitude: This slider, available when Wave is chosen in the Shape pop-up menu, defines half the distance from the highest point to the lowest point in the wave.
3D: When this checkbox is selected, the 3D emitter shapes (Box and Sphere) become available. Because all emitter shapes can be used in 3D space, additional 3D parameters are available for all emitter shapes when the 3D checkbox is selected: Render Particles, Emission Latitude, and Emission Longitude. These additional parameters appear in the Emitter Inspector and HUD. These parameters are available for all shapes, regardless of the Arrangement setting.
Important: When the 3D checkbox is selected, In Global 3D (Better) must be selected from the Render Particles pop-up menu for the 3D particles to cast shadows and to be affected by lights. Emission Latitude: Available when the 3D checkbox is selected, this dial specifies the emission direction (in degrees latitude) of the particles. Emission Longitude: Available when the 3D checkbox is selected, this dial specifies the axis of rotation (in degrees longitude) from which the particles are emitted.
When selected, this checkbox draws the particles in the particle system according to each particle’s actual 3D position in the project. In other words, particles closer to the camera appear closer; particles farther from the camera appear more distant. Render Order: A pop-up menu that determines whether new particles are drawn on top of or underneath particles that have already been generated. There are two options: • Oldest First: New particles appear on top of older particles.
Particle Cell Parameters in the Inspector The following parameters apply to the creation and motion of the individual particles generated by each cell in an emitter. Cell controls appear at the bottom of the Emitter Inspector when a particle system is selected, and in the Particle Cell Inspector when a particle cell is selected.
Birth Rate: A slider that defines the birth rate of the cell. In other words, this parameter defines how many particles of this cell emerge from the emitter every second. Higher values create denser particle effects. Low birth rate particle system High birth rate particle system Birth Rate Randomness: A slider that defines an amount of variance in the Birth Rate of generated particles. A value of 0 results in no variance—particles emerge from the emitter at the same rate.
Life: A slider that defines the duration of every particle, in seconds. This parameter specifies how long each particle lasts before vanishing from existence. This effect is similar to how sparks disappear after flying away from a sparkler. Unless the Color Over Life parameter or Opacity Over Life parameter is used to fade each particle out over its life, particles immediately vanish at the end of their lifetimes.
Spin Randomness: A dial that defines an amount of variance in the spin of generated particles. A value of 0 results in no variance—all particles from the selected cell spin at the same rate. A value greater than 0 introduces a variance defined by the Spin parameter, plus or minus a random value falling within the Spin Randomness setting. Additive Blend: By default, particles are composited together using the Normal blend mode.
• Colorize: Particles are tinted using the color specified in the Color parameter. When this setting is selected, additional Color and Opacity Over Life parameters appear. • Color: Available when the Color Mode is set to Colorize, specifies a color to use to tint the particles. You can also modify the alpha channel of each particle, altering its opacity. This parameter is unique to the cell object.
• Pick From Color Range: Particles are tinted at random, with the range of possible colors defined by the Color Range gradient editor. A point on the gradient is randomly chosen, so the relative sizes of each color region determine the frequency of the color being used. For more information on using the gradient controls, see Using the Gradient Editor.
Scale: A slider that defines the scale of every particle of a cell. Click the disclosure triangle next to the Scale parameter to reveal separate X and Y scaling subparameters, which can be used to resize the width and height of generated particles. This control affects the initial scale of the particle (compared to the Scale Over Life behavior in the Particles behavior category).
Play Frames: This checkbox, which appears if the particle system was created from a QuickTime movie, controls playback. If selected, playback of the animation or movie clip used to generate each particle loops. If deselected, particles are generated using the still frame specified by the Random Start Frame parameter or the Source Start Frame parameter.
• Lines: Each particle is represented by a line. This is a good preview mode to use to analyze the vector of each particle’s motion. The length of each line is determined by that particle’s speed, and the angle of each line equals each particle’s direction. • Wireframe: Each particle is represented by a bounding box. Because the bounding boxes are good indicators of each particle’s orientation in the system, this preview mode is useful for evaluating the movements of individual particles.
Note: Whatever is chosen in the Show Particles As pop-up menu appears in your final render. This can result in some interesting effects. Point Size: This slider appears when Show Particles As is set to Points, and lets you adjust how large the points are. Random Seed: Although particle systems seem random, they’re deterministic. This means that the variation in each particle system is created based on the number shown here.
For an example of a keyframed emitter object in a particle system, see Example 2: Creating Animated Pixie Dust. For more information on keyframing parameters in the Keyframe Editor, see Keyframes and Curves. Applying Behaviors to Emitters Applying behaviors to emitters is a quick and easy way to move emitters in your project. Attaching the Motion Path and Snap Alignment to Motion behaviors to an emitter affects the position of the source of all new generated particles.
Note: The Affect Subobjects checkbox only appears in the Behaviors Inspector when the Throw and Spin behaviors are applied to a group that contains multiple objects, such as a group, particle emitter, or text. Applying Parameter Behaviors to Emitter or Cell Parameters As with all objects in Motion, you can apply Parameter behaviors to the parameters in the Emitter or Particle Cell Inspector.
• Birth and Death Values: Specifies starting and ending scale percentages used to animate each particle’s size over its lifetime. The scale amount generated by this option for a specific particle at a specific time is multiplied by the pre-existing particle Scale (defined in the Cell Controls section of the Emitter Inspector). When this option is selected, the Scale At Birth and Scale At Death parameters become available.
• Birth and Death Values: Specifies starting and ending spin degrees used to animate each particle’s rotation over its lifetime. The spin amount generated by this option for a specific particle at a specific time is added to the pre-existing particle spin (defined in the Cell Controls section of the Emitter Inspector). When this option is selected, the Spin At Birth and Spin At Death parameters become available.
Note: To manually send an animated parameter to the Keyframe Editor, choose Show In Keyframe Editor from the parameter’s Animation menu. The parameter is displayed in the Keyframe Editor in a new, untitled curve set. Using Masks with Particle Systems As shown in the following images, you can apply masks to the cell source of a particle emitter. The effect of the mask on the cell source is carried through to the emitted particles.
You can also apply masks to the emitter object itself. Rectangle mask (inverted) applied to the emitter object For more information on working with masks, see Masking a Layer or Group. Applying Filters to Particle Systems Filters can only be applied to a particle system’s emitter. You cannot apply separate filters to individual cells. (Filters can be applied to the source of a particle cell, but not to a cell directly.
Tip: You can use the Make Clone Layer command to clone an emitter and then use the Retiming controls or Retiming behaviors to create unique animations. For example, you can create a starburst that explodes outward, then retracts, then explodes, and so on. For more information on cloning, see Making Clone Layers. Example 1: Creating an Animated Background This first example describes how to create an animated background using a single still image.
5 In the Cell Controls section of the Emitter Inspector, set the Initial Number parameter to 12. This creates a distributed group of particles that partially fills the Canvas. 6 To turn the particles into a uniform abstract mass, adjust the following parameters: • Set Life to 4. • Set Speed to 140. • Set Spin to 60. • Set Spin Randomness to 15. • Select Additive Blend. • Set Color Mode to Pick From Color Range. (Or, if you prefer, select another gradient from the preset pop-up menu.) • Set Scale to 65%.
In this example, adding the Crystallize filter creates an even more abstract effect. You might also consider adjusting the color gradient, or applying color correction to make the background fit more appropriately with your foreground elements. 8 Adjust the Color Range opacity gradient so the particles fade in and out rather than popping into and out of existence.
This example uses the “Flare01” image from the Particle Images subcategory in the Content category of the Library. This is a small image of a lens flare against black, with a built-in alpha channel. 2 With the flare object selected, click the Make Particles button in the toolbar (or press E). An emitter is added to the project, but nothing happens yet because the playhead is at the first frame of the project, and only one particle has been created.
This results in the following image: 4 To make the particles generated by each different cell mingle together, select the Interleave Particles checkbox in the Emitter Inspector. 5 Select the “Flare01” cell in the Layers list, then set the Scale slider in the Particle Cell Inspector to 15%. Doing this reduces the size of the particles generated by this cell. 6 Select the “Spark12” cell in the Layers list, then set the Scale slider in the Inspector to 45%.
All particles generated by that cell are now red. 8 Use the Opacity Over Life control to make this cell’s particles fade out over their life. 9 To make the spark particles spin as they move away, set the Spin parameter value to 60. 10 In the Layers list, select the “Flare01” cell of the particle system. Its parameters appear in the Inspector. 11 Follow the procedure in Step 7 to make these particles light yellow.
Note: As an alternative to Step B (turning on the Record button), you can manually add a keyframe to the emitter’s Position parameter in the Properties Inspector after Step C. Any subsequent changes to the emitter’s position result in a keyframe at the current playhead position (regardless of the Record button state). c Select the emitter and drag the particle system to the lower-left corner of the screen. d Press End to go to the last frame of the project. e Drag the emitter toward the upper-right corner.
To turn the system into 3D particles 1 In the Emitter Inspector, select the 3D checkbox. 2 If your project does not contain a camera, click the New Camera button in the toolbar. If your project is a 2D project, a dialog appears asking if you want to switch your 2D groups to 3D. 3 Click Switch to 3D. A camera is added to the project, and your layers are turned into 3D layers. 4 In the 3D View tools (in the upper-right corner of the Canvas), drag the Orbit tool (the center tool).
If you want your particles to intersect with other rotated layers, choose In Global 3D (Better) from the Render Particles pop-up menu in the Emitter Inspector. In the following image on the left, Global 3D is selected so the particles intersect with other objects in the project that are transformed in 3D space. In the image on the right, Local 3D is selected so the particles do not intersect with other objects.
Using the Replicator 15 Patterns of repeating elements are prevalent in various types of motion graphics projects, from television title sequences, to news intros, to bumpers, to commercials. Creating these complex collages is usually very time-consuming, requiring careful duplication of elements, followed by tedious keyframing.
Replicator Concepts The replicator in Motion builds patterns of repeating elements with minimum effort. The elements of the patterns can consist of video, still images, shapes, text, or any other type of layer in a Motion project. For example, with very few clicks of your mouse you can create spinning loops based on a basic shape. Replicator source shape Replicator result Replicator parameters can be keyframed to change a pattern’s dynamics over time.
Replicators take advantage of Motion’s 3D capabilities. Some replicator shapes are inherently 3D, and others can have points that exist in 3D space. Additionally, behaviors applied to a replicator can pull pattern elements out of a plane. For more information, see Using Replicators in 3D Space. The Difference Between a Replicator and a Particle System Although the replicator and particle systems share many parameters, they are very different tools.
Replicators and Cells After a layer is replicated, a replicator cell appears underneath its parent replicator in the Layers list and Timeline. This cell layer is named for the source object. At the same time, the source object itself is disabled but remains in its original position in the Layers list.
When you drag the source object over the Replicator layer (while continuing to hold down the mouse button), a drop menu appears. This menu gives you options to add the object as a replicator cell or as a mask to the replicator. For more information, see Applying Masks to Replicators. The replicator and its cell (or cells) have separate sets of parameters that control the look of the mosaic pattern you see in the Canvas.
Replicator parameters are dynamic—different parameters appear in the Inspector depending on the layout type you choose in the Shape pop-up menu. For example, when Rectangle is the selected pattern shape, additional parameters appear in the Inspector that allow you to modify the size of the rectangle, the number of rows and columns, and other attributes.
Note: Replicators themselves, particle emitters, lights, cameras, and rigs cannot be replicated. Transformations that you apply to the source are respected in the replicator cells. For example, if you use a rotated rectangle shape as the replicator source layer, the replicated elements in the Canvas appear rotated. If the source layer has applied filters, the effects of the filters are retained in the elements of the replicator pattern.
A preview appears in the preview area. Note: If the preview does not start playing, position the pointer over the preview and click the play button. 4 After you select a replicator preset, do one of the following: • Click Apply in the preview area to add the replicator to the center of the Canvas. • Drag the replicator to the Canvas. • Drag the replicator to a group in the Layers list or Timeline layers list. • Drag the replicator to the track area of the Timeline or to the mini-Timeline.
To create a pattern from a source layer 1 Place an object to replicate into your project. This example uses a bird graphic from the Content folder in the Library. 2 Select the object, then do one of the following: • In the toolbar, click the Replicate button. • Choose Object > Replicate (or press L). When a layer is replicated, the following occurs: • The replicator layer (labeled “Replicator”) appears in the Layers list and is selected.
Note: Changes made to the original source layer, such as opacity or shearing, are respected in the pattern after the replicator is created. • In the Canvas, the default rectangle pattern appears, centered in the same location as the source object. • In the toolbar, the Adjust Item tool is selected so you can immediately begin using the replicator’s onscreen controls. Adjust Item tool When the Adjust Item tool is selected, dragging the pattern’s onscreen controls (the bounding box) resizes the replicator.
You can add multiple sources to a single replicator. Each source becomes a cell in the replicator, and each cell has its own set of parameters. When you select a replicator cell in the Layers list or Timeline, its parameters appear in the Replicator Cell Inspector. To use multiple source layers for a replicator pattern 1 In the Layers list or Timeline, Shift-click to select the layers to replicate. This example uses two graphics from the Content folder in the Library.
When multiple cells create a replicator pattern, the elements appear at the same points on the pattern. The replicator is positioned at the average of the source’s positions. The elements in the pattern are stacked according to their order in the Layers list and Timeline. To change the stacking order of the layers, drag the lower cell above the upper cell in the Layers list.
µ To display the Replicator HUD In the Layers list or Timeline, select the replicator. The HUD appears. If it does not appear, press D or F7. Replicator HUD Controls The Replicator HUD contains frequently used controls necessary to modify the shape and arrangement of the replicator. These parameters are a subset of the parameters found in the Replicator Inspector. The HUD also provides quick access to the Opacity and Blend Mode parameters, located in the Properties Inspector.
Important: The controls in the Replicator HUD are dynamic—they appear depending on what is selected from the Shape pop-up menu and the Arrangement pop-up menu (which is itself dynamic, invoking additional parameters). The Opacity, Blend Mode, and Shape parameters always appear in the Replicator HUD. For a discussion of all replicator parameters, see Advanced Replicator Controls. Opacity: Defines the opacity of the replicator pattern as a whole.
Arrangement: A pop-up menu that defines the layout of the elements in the replicator pattern. When the Shape parameter is set to the default Rectangle setting, the default arrangement is Tile Fill. The Arrangement parameter is available when Shape is set to Rectangle, Circle, Image, Box, or Sphere. Arrangement set to Tile Fill (default) Arrangement set to Outline Arrangement set to Random Fill Columns: A slider that defines the number of vertical columns in the pattern.
Replicator Cell HUD Controls The Replicator Cell HUD contains frequently used controls necessary to modify the attributes of elements in the replicator pattern. These parameters are a subset of the parameters found in the Cell Controls section of the Replicator Inspector (for replicators with one cell) or in the Replicator Cell Inspector (for replicators with more than one cell).
The following sections cover replicator properties that can be adjusted in the Properties Inspector: • Transform Controls • Blending • Lighting (3D Project) • Shadows (3D Project) • Reflection (3D Project) • Drop Shadow • Four Corner • Crop • Timing Transform Controls Because all elements in a replicator are attached to the control points of the replicator pattern, changing the replicator’s position, rotation, scale, shear, or anchor point attributes using the controls in the Properties Inspector changes e
Note: In the replicator, pattern elements can be blended additively or normally (by selecting or deselecting the Additive Blend checkbox in the Replicator Inspector). Lighting (3D Project) This parameter group is available only for 3D projects. As with all layers, the Shading pop-up menu (in the Lighting section of the Properties Inspector) must be set to On or Inherited for lights to affect the replicator. For more information on using lights, see Lighting.
Drop Shadow A drop shadow can be applied to a 2D replicator (a replicator with the 3D checkbox turned off in the Replicator Inspector). The drop shadow affects layers composited behind the replicator. If the replicator pattern contains overlapping elements, the shadow does not appear on individual elements. However, when the Drop Shadow parameter is enabled for the source layer (in the Properties Inspector), overlapping pattern elements appear with a drop shadow.
Although the duration of source layers has no affect on the replicator, the duration of each cell affects how long the elements created from that cell are visible in the project. You can change a cell’s duration by dragging its In and Out points in the Timeline. In this way, you can adjust the timing that defines when each cell type appears. For example, to create a pattern in which three types of elements appear at different times in the animation, you can offset the cells in the Timeline.
When the Adjust Item tool is selected, the replicator onscreen controls appear in the Canvas. Dragging the pattern’s shape outline adjusts the size of the replicator shape. For example, if the shape is a spiral or circle, dragging the shape outline changes the Radius parameter value. Dragging inside the shape (but not directly on the outline) repositions the replicator in the Canvas. When the pointer is over the replicator shape line, the line is highlighted.
If the replicator shape is a rectangle, dragging a corner or edge of its bounding box changes the Size parameter value. Depending on which handle you drag, you can constrain the transform to width, height, or depth (in a box-shaped replicator). Or you can drag a corner handle to scale the replicator in multiple dimensions simultaneously. Drag the corner handles to adjust width and height simultaneously. Press Shift to adjust width and height uniformly.
Drag the top or bottom edge to adjust height. Advanced Replicator Controls The Replicator Inspector gives you control over every aspect of a replicator pattern. This includes parameters for the replicator cell (for replicators with a single cell). To open the Replicator Inspector 1 Select a replicator. 2 In the Inspector, click Replicator. The replicator parameters appear.
For a replicator with only one cell (one source layer), the replicator and replicator cell controls appear in the same Replicator Inspector. In this case, you can control every aspect of the replicator using these controls.
In replicators with multiple cells, each cell has its own Replicator Cell Inspector containing all parameters for that cell. Replicator Cell Inspector for replicator with multiple cells To access cell-specific parameters, select a cell in the Layers list or Timeline. Cell selected in Layers list Replicator Controls in the Inspector The controls in the Replicator Inspector give you complete control over every aspect of the pattern created by the selected replicator.
Note: Depending on the item you choose in the Shape pop-up menu, additional controls may appear in the Replicator Inspector. For example, when Rectangle is selected in the Shape pop-up menu, the Outline, Tile Fill, and Random Fill options become available in the Arrangement pop-up menu. These additional controls let you further customize the chosen shape. The Shape pop-up menu contains the following items: • Line: Elements are positioned on a line.
• Circle: Elements are positioned in a circle along the replicator outline, or in a tile or random fill pattern. When Circle is selected, the Arrangement parameter becomes available. Depending on the selected Arrangement, the Circle shape displays additional parameters. In the following image, the circle’s Arrangement is set to Outline. • Burst: Elements are positioned in a flare pattern.
• Wave: Elements are positioned on a waveform. The Wave shape displays additional Start and End Point, Amplitude, Frequency, Phase, Damping, Points, and Offset parameters in the Replicator Inspector. • Geometry: Elements are positioned along the edge of a shape, defined by a spline object used as the shape source. The Geometry shape displays additional Shape Source, Points, and Offset parameters in the Replicator Inspector.
• Box: This option is available when the 3D checkbox is selected in the Replicator Inspector. Elements are positioned in a three-dimensional cube along the replicator outline, or on its surface in a tile or random fill pattern. Using the onscreen controls (with the Adjust Item tool), you can specify the size and location of the rectangle.
Note: For projects using the default camera settings and a default Z position for the replicator, the Height is measured in pixels; however, the Width is measured in square pixels. This is done so a shape that is numerically square appears square when “Correct for Aspect Ratio” is selected in the View pop-up menu in the top-right corner of the Canvas.
Amplitude: This slider, available only when Shape is set to Wave, defines half the distance from the highest point to the lowest point in the wave. Higher values result in more extreme waves. Frequency: This slider, available only when Shape is set to Wave, defines the number of waves. The default is value is 1. Default Frequency value (1) Frequency value set to 2 Phase: This slider, available only when Shape is set to Wave.
When Shape is set to Line or Wave, the slider sets the number of evenly distributed element points on the line or wave. When the Adjust Item tool is selected, the points are visible in the Canvas. When Shape is set to Geometry, the slider sets the number of evenly distributed element points around the shape. Offset: When Shape is set to Line or Wave, adjusting this slider moves the elements along the line or wave.
For Rectangle and Image shapes with Arrangement set to Tile Fill and Origin set to Upper Left, Upper Right, Lower Left, or Lower Right, the Build Style options are: • Across: Builds the elements across the pattern in the direction implied by the Origin parameter. • By Row: Builds the elements over the pattern by row. • By Column: Builds the elements over the pattern by column.
Twists: This slider, available only when Shape is set to Spiral, defines the number of turns in a spiral. The default value is 0.25. When Number of Arms is set to one, a single spiral is created. Spiral with default parameter settings Spiral with Number of Arms set to 1 Number of Arms: This slider, available only when Shape is set to Burst or Spiral, defines the number of branches on which the elements are positioned. The default value is 3.
Tile Offset: This slider, available when Shape is set to Rectangle, Circle, Image, Box, or Sphere, and Arrangement is set to Tile Fill, specifies the amount (in percentage points) that the elements are offset from the pattern. Values from 0 to 100% offset the rows toward the right, and values from 0 to –100% offset the rows toward the left. A value of 50 or –50% creates a brickwork pattern.
• Lower Left: The elements originate in the lower-left corner of the pattern and end in the upper-right corner. • Lower Right: The elements originate in the lower-right corner of the pattern and end in the upper-left corner. • Center: The elements originate in the center of the pattern and move outward. This is the default Origin option. • Left: The elements originate at the left side of the pattern and end at the right side.
• Back Upper Right: The elements originate in the back upper-right corner of the pattern and end in the front lower left. • Back Lower Left: The elements originate in the back lower-left corner of the pattern and end in the front upper-right. • Back Lower Right: The elements originate in the back lower-right corner of the pattern and end in the front upper-left. • Left: The elements originate at the left side of the pattern and end at the right side. The pattern is identical on each row.
• Center: The elements originate in the center of the pattern and move outward. This is the default Origin option. • X Axis: The elements originate along the X axis of the pattern and move outward. • Y Axis: The elements originate along the Y axis of the pattern and move outward. • Z Axis: The elements originate along the Z axis of the pattern and move outward. Note: The origin parameter also determines where the Sequence Replicator behavior starts its animation.
Although the result of the Random Fill option from the Arrangement pop-up menu seems random, it’s deterministic. This means that the random variation in the pattern is created based on the number shown. Unless this seed number is changed, a replicator with the same parameter settings and source object always appears the same. If you don’t like the current random fill, you can change the seed number by typing a new number or clicking Generate. This changes the random calculations performed for that pattern.
Note: Because replicator pattern elements are 2D (flat) objects, the pattern elements are not visible when you use the orthogonal camera views, such as Left, Right, and Top (unless the source layer or pattern elements are rotated in 3D space). This is because orthogonal views are at right angles (perpendicular) to the elements. For more information on using cameras, see Cameras.
Align Angle: When this checkbox is selected, the replicator elements rotate to match the shape on which they are positioned. This parameter is available for all replicator types except for the following: Rectangle, Circle, Image, Box, and Sphere shapes with Tile Fill or Random Fill. Spiral replicator with Align Angle disabled Spiral replicator with Align Angle enabled Angle: A dial that specifies (in degrees) the rotation of the replicator elements.
Angle End: A dial that specifies (in degrees) the rotation of the replicator elements at the end of the pattern. The angle value of the elements at the end of the pattern equals the Angle value (start) plus the Angle End value. For example, if Angle is set to 0 degrees and Angle End set to 90 degrees, the elements are not rotated at all at their origin, and are rotated by 90 degrees at the end of the pattern.
In a 3D project, using the default dial or value slider (when the disclosure triangle is closed), modifies the Z angle. To modify the rotation of the pattern elements on all three axes (X, Y, and Z), click the disclosure triangle and adjust the X, Y, and Z dials. When the 3D checkbox is selected, this parameter also displays the Animate pop-up menu. • Animate: A pop-up menu that sets the angle interpolation for keyframed animation of the Angle Randomness parameter.
• Over Pattern: Elements are tinted based on how they are ordered in the pattern. When Over Pattern is chosen, the Color Gradient editor appears, allowing you to define the range of color of the pattern, beginning with the leftmost color in the gradient, and progressing through the range of colors until reaching the rightmost color at the end of the pattern. Gradual color changes do not appear in each element, but only across the pattern as a whole.
• Pick From Color Range: Elements are tinted at random, with the range of possible colors defined by the Color Range gradient editor, which appears when you choose Pick From Color Range. A point on the gradient is randomly chosen, so the relative sizes of each color region determine the frequency of the color being used. For more information on using the gradient controls, see Using the Gradient Editor.
Scale End: This slider specifies the scale of the replicator elements at the end of the pattern, relative to the Scale value. For example, if Scale is set to 100% and Scale End set to 50%, the elements are 100% at their origin and half their size at the end of the pattern. Scale Randomness: This slider defines an amount of variance in the scale of replicator elements. A value of 0 results in no variance—all elements in the pattern are the same size. A value greater than 0 introduces a variance.
Source Start Frame Offset: This slider, which appears if the replicator is using a QuickTime object as the source for a cell, and if Random Start Frame is deselected, offsets the start frame chosen in the Source Start Frame parameter over the pattern. At their origin, the elements play the animation from the frame specified in the Source Start Frame parameter. Each step away from the origin advances the start frame by the offset amount.
Show Objects As: Use this pop-up menu to set the display of replicator elements to a preview mode, or as they actually appear. The nonimage modes play back more efficiently when viewing a complex replicator pattern. By default, this pop-up menu is set to Image, which displays each element as it is supposed to appear. Choose one of the following four options: • Points: Each element is represented by a single point. This is the fastest preview mode.
• Wireframe: Each pattern element is represented by a bounding box. Because the bounding boxes are good indicators of each element’s orientation in the pattern, this preview mode is useful for evaluating the movements of individual elements. For example, it’s easy to see the angle of rotation for elements that are spinning or following a complex motion path. • Image: This option displays the elements as they are supposed to appear in your final render.
Using Image and Geometry Objects There are two ways that image and geometry objects can be used in a replicator: as a cell source or as a shape source. When used as a cell source, the image or geometry object is replicated to create the repeating elements in the pattern—the tiles in the onscreen mosaic. When used as a shape source, a geometry object (such as a circle or bezier shape) defines the shape of the replicator pattern. In other words, the elements are positioned along the edge of the shape.
4 When the pointer becomes a curved arrow, release the mouse button. A thumbnail of the image appears in the well. Note: The source image in the Layers list is disabled so it is not visible in your project. 5 Choose an option from the Arrangement pop-up menu. To use a geometry shape as the source of the onscreen elements 1 Create or import the geometry object (shape or paint stroke) to use as the source for your repeating elements.
Using Replicators in 3D Space Two replicator pattern styles in the Shapes pop-up menu have 3D properties: Box and Sphere. The Box and Sphere shape options are available only when the 3D checkbox is selected in the Replicator Inspector. Box and Sphere replicators build a pattern of elements in 3D space. The 2D Rectangle and Circle replicator shapes have columns (in the Y plane) and rows (in the X plane), but Box and Sphere have an additional Ranks parameter, which adds depth to the replicator.
The following illustrations demonstrate replicator pattern elements pulled into Z space. In the illustration on the left, the Burst replicator’s Z position is set to 0 and the white circle’s Z position is set to 225. An “Attracted To” Simulation behavior is applied to the replicator, with the white circle set as the target object. As the project plays, as shown in the center illustration, the replicator elements move forward in Z space toward the attractor.
Applying Masks to Replicators Masks can be applied to a replicator’s source layer (used as the replicator cell source to create the repeating onscreen elements) or to the replicator itself. The following images show masks applied to the source layer of a replicator. Mask applied to the replicator cell source layer When a masked layer is used as the source for a replicator cell, the mask is respected in the elements that appear onscreen.
When the mask is applied to a replicator, the entire pattern onscreen becomes masked. Circle mask applied to the replicator Note: Although masks cannot be applied to a 3D replicator, they can be applied to an object used as a pattern source for 3D replicator. For more information on working with masks, see Masking a Layer or Group. Animating Replicator Parameters Most replicator and replicator cell parameters can be animated with keyframing or by using Parameter behaviors.
Displaying Replicator Animation Curves in the Keyframe Editor The replicator parameters in the Properties and Replicator Inspectors can be keyframed to create a change in values over time. You can view the resulting keyframe curves in the Keyframe Editor by choosing Animated from the pop-up menu in the top-left corner of the Keyframe Editor.
After you create a Sequence Replicator behavior, you can save the behavior to the Library. To apply the Sequence Replicator behavior to a replicator Do one of the following: µ In the Layers list or Timeline, select the replicator, then choose Replicator > Sequence Replicator from the Add Behavior pop-up menu in the toolbar. µ In the Library, select the Behaviors category and then the Replicator subcategory.
Important: Before any sequencing animation can occur, you must add at least one parameter to the behavior in the Inspector and then set a value for that parameter. Until a parameter is added, adjusting the Sequence Controls in the HUD or Inspector has no effect. Adding Parameters to the Sequence Replicator Behavior In the following example, the Rotation, Opacity, and Scale parameters are added to the Sequence Replicator behavior.
Each element rotates from 0 degrees to 160 degrees over the pattern for the duration of the Sequence Replicator behavior. Note: If the elements are already rotated (in the Cell Controls), the elements are rotated 160 degrees from their original rotation value. Each element rotates and pops into place before the next element begins its animation. To soften this effect, increase the Spread value. 5 Increase the Spread value. In this example, Spread is set to 12.
Each element fades from 100% opacity to 0% opacity over the pattern for the duration of the Sequence Replicator behavior. Note: If the elements contain some transparency, they fade from their original opacity value to 0%. 7 Increase the Scale value. In this example, Scale is set to 190%. The animation begins at the original value for any added parameter, then transforms to the value you specify in the Sequence Replicator parameters.
By default, Sequencing is set to To, which specifies that the animation begins at the original value of the cells and moves to the value set in the Sequence Replicator behavior for that parameter. The starting point for the sequence animation is based on the build or origin of the pattern (as defined in the Origin or Build Style parameters in the Replicator Inspector). In the current example, the elements begin completely opaque, at 100% scale, and with 0 degrees of rotation at the origin of the pattern.
The sequence animation affects all replicator elements simultaneously. The default is Object, which applies the sequence animation to the elements of the replicator based on the origin of the pattern. Unit Size set to All Unit Size set to Object 6 Increase the Loops value to a minimum value of 3. By default, a sequence animation plays through one time. The value of the Loops parameter defines the number of times the animation repeats over the duration of the replicator object.
• Opacity: Adds an opacity slider, allowing you to define the transparency of the pattern elements. • Scale: Adds a scale slider that lets you define the size of replicator elements. Click the disclosure triangle next to the Scale slider to reveal separate X scaling and Y scaling subparameters that can be used to adjust the width and height of the cells separately. By default, Scale is set to 100%—the size of the replicator cells is equal to the original size defined in the cell parameters.
• Through: Specifies that the sequence goes through a full animation cycle starting at the original value of the cells, moves to the value set in the Sequence Replicator, and then returns to the original value of the cells. For example, if the original opacity value of a cell is 100% and opacity is set to 0% in the Sequence Replicator parameters, onscreen elements begin completely opaque, become transparent, and then become completely opaque again.
Unit Size: This pop-up menu specifies whether the sequence animation is applied to the replicator pattern as a whole, to its elements, or to a keyframed range. The Unit Size options are: • Object: Applies the sequence animation over each element as its own entity. Object is the default setting. When Unit Size is set to Object, each replicator pattern cell is affected individually. • All: Applies the sequence animation to all replicator elements simultaneously.
• Custom: Allows you to specify the percentage of elements in the pattern that are affected by the sequence animation at once. Although you can create keyframes for the Custom option, it is not required to affect the sequence. As shown in the following images, the Object and All options allow you to sequence the animation only through the origin or build style of the pattern, or through all pattern elements simultaneously. Unit Size set to Object sequences the animation over the build of the pattern.
End: This slider, available when Custom is chosen from the Unit Size pop-up menu, specifies the end of the range of elements affected by the sequence animation as it moves over the replicator pattern. By default, End is set to 10%. In the above image, End is set to 30%. Note: If the Sequencing pop-up menu is set to Custom, the Custom option in the Unit Size parameter has no affect. Spread: This slider controls the amount of falloff of the animation.
• Wrap: Treats the sequence animation as a continuous loop so the spread wraps from the last element in the sequence to the first element. • Ping Pong: Completes the sequence animation cycle forward, then completes the animation backward, then forward, and so on. Using the Sequence Replicator Custom Traversal Option When the Traversal parameter in the Sequence Replicator behavior is set to Custom, you can create location keyframes to specify where the effect of the sequence is at a given moment.
As you drag the slider, the sequence moves through the pattern elements. Values displayed in the Location parameter specify where in the pattern the sequence is (in percentage points)—0 representing the origin of the pattern, and 100% representing the end of the pattern. In the Inspector, a keyframe is added to the Location parameter. 6 Go to the next frame where you want to set a keyframe, and move the Location slider. 7 Repeat step 6 until you create all your keyframes.
The Parameter behavior is added and appears above the Sequence Replicator behavior in the Behaviors Inspector. A behavior icon appears in the Animation menu of the Sequence Replicator parameter. Behavior icon Note: When the Wriggle or Randomize parameter behavior is added to a Sequence Replicator parameter, the Affect Subobjects checkbox becomes available. Select the checkbox if you want each element in the pattern to display a different random behavior.
µ Select the replicator in the Layers list, Canvas, or Timeline, then choose an item from the Add Behavior pop-up menu. The behavior is applied to the replicator, which begins to move according to the parameters of the behavior. Not all behaviors instantly activate a layer when applied. For example, when a Throw behavior is applied to a layer, the Throw Velocity parameter must be adjusted before the object moves. For more information on behaviors, see Using Behaviors.
Simulation Behaviors and Keyframes Any Simulation behavior, as well as the Throw and Spin behaviors (in the Basic Motion behaviors category), applied to a replicator disables all animation that affects the position or rotation or the individual elements. To return to any keyframed animation created before you applied the behavior, disable the behaviors. To disable a behavior, deselect its checkbox in the Inspector, Layers list, or Timeline.
Saving Custom Replicators to the Library After you create a replicator you like, you can save it as a replicator preset in the Replicator or Favorites category of the Library for future use. After you place a custom replicator in the Library, it can be used like any other replicator preset. To save a custom replicator to the Library 1 Open the Library and select the Replicators, Favorites, or Favorites Menu category.
Creating and Editing Text 16 Although trends in type design change, a balanced use of type and graphics remains the key to achieving the right effect in commercials, documentaries, television and film titles, broadcast logos, corporate presentations, or your own video projects. No matter what style your project requires, Motion provides unique text animation tools that offer immediate results. This chapter covers the following: • About Text in Motion (p. 808) • Setting Motion Preferences for Text (p.
• Using and Creating Preset Text Styles (p. 861) • Editing Text Layout (p. 865) • Text Controls in the Layout Pane (p. 866) • Text Layout-Related Tasks (p. 878) • Text Margin and Tab-Related Tasks (p. 886) • Working with Text Glyphs (p. 888) • Adding Behaviors and Filters to Text (p. 894) • Using the Text HUD (p. 895) About Text in Motion Motion lets you add text to your project in the Canvas—select the Text tool, click in the Canvas, then start typing.
2 Click the Project icon. The Project Preferences pane is displayed. 3 In the Still Images & Layers section, set the Default Layer Duration preference: • To create text that is the length of the project, select “Use project duration” (the default setting). This means that if you are working in a 300-frame project and you create text, the duration of the text (in the Timeline) is 300 frames.
To add text in the Canvas 1 In the Layers list, select the group to add a text layer to. Note: If no group is selected, the text is added to the last selected group (the group with the underline beneath its name in the Layers list). 2 In the toolbar, click the Text tool (or press T). 3 Click in the Canvas. The cursor flashes in the Canvas at the insertion point. Before you enter text, an empty text object is added to the project and the Text HUD appears.
• The same text appears in the track bars of the group and layer in the Timeline. Note: By default, the text layout method (adjustable in the Layout pane of the Text Inspector) is set to Type. The Type layout option creates no right margin. Therefore, if you enter a long string of text, the characters extend on a single line beyond the edge of the Canvas until you create a manual line break (by pressing Return).
Adding Paragraph Text in the Canvas While clicking in the Canvas with the Text tool prompts basic text entry, dragging the Text tool in the Canvas activates paragraph-style text entry. Paragraph text is contained within margins that cause the text you type to wrap to the next line. You can adjust the margins of the paragraph to create a column of text as narrow or as wide as you like. µ To add paragraph text to your project With the Text tool selected, drag in the Canvas to draw a custom text entry field.
Note: You can also type paragraph text in the Text editor field of the Format pane (in the Text Inspector). For more information, see Adding Text with the Text Editor. Working in the Canvas, you can adjust the margins of the text entry field without affecting the scale of the text. To adjust the width or height of text margins without scaling the text Do one of the following: µ With the Text tool selected, drag a text entry field’s onscreen scale handle.
µ In the Text Inspector, click the Layout pane and adjust the Left Margin, Right Margin, Top Margin, or Bottom Margin values. Margin controls Note: When text is deleted from a paragraph, the paragraph margins remain in their original locations.
Paragraphs and 3D Space Text can be modified in 3D space. As a camera rotates, the onscreen text entry controls rotate with the text. Although the controls (the ruler, text entry field, and scroll control) appear to change in scale, this is only a perspective shift caused by the movement of the camera.
3 Click in the Text editor and begin typing. Text Entry area You can also edit text in the Text editor and use the Mac OS X spelling checker. To edit text using the Text editor 1 In the Layers list, select the text to be edited. Note: You can also select the Text tool (in the toolbar) and click the text to edit in the Canvas. The selected text appears in the Text editor.
2 Make changes in the Text editor. Changes are reflected in the Canvas. To use the spelling checker in the Text editor Do one of the following: µ Click in the Text editor, then choose an option from the Edit > Spelling and Grammar submenu. µ Control-click in the Text editor, then choose an item from the shortcut menu. When a spelling error is found, the text is highlighted in the Text editor. If the Text tool is active when the spelling is checked, the text is selected in the Canvas.
• The Layout Method (in the Layout pane of the Text Inspector) is set to Paragraph. Note: To change the layout of the text, choose another option from the Layout Method pop-up menu. The ruler and scroll controls become available in the Paragraph and Scroll layouts. The scroll control becomes available in the Crawl layout. • The paragraph margins are set to the Safe Zones of the project. (Press the Apostrophe key to turn Safe Zones on and off.
To move the tabs 1 Double-click the text to display the onscreen text entry field, ruler, and scroll control. Note: The Text tool must be selected for the ruler and tabs to appear in the Canvas. 2 Do one of the following: • In the Canvas, drag a tab (the small white triangle) in the ruler. • In the Layout pane of the Text Inspector, use the Tabs controls to adjust the position and layout of the tabs.
3 Do one of the following: • In the Motion Toolbar, select the Text tool, click in the Canvas, then choose Edit > Paste (or press Command-V). • In the Format pane of the Text Inspector, click in the Text editor and choose Edit > Paste (or press Command-V). Text as an Object When you create text, it becomes an object in your project.
In addition to moving text with transform tools, you can move text up and down in the composite in the Layers list and Timeline. Like all other objects in Motion, text can also be copied, pasted, duplicated, and deleted. For more information, see Managing Layers in a Project. Using Text Tools There are two ways to edit a text object: • As with other object in Motion, you can edit text by using the parameters in the Properties Inspector, or by using the onscreen controls.
Note: When the Select/Transform tool is active, you can double-click the text to enter text-editing mode. When Motion is in text-editing mode, the Text tool is highlighted in the toolbar. • Transform Glyph tool: Use this tool to select and transform glyphs (individual characters of text objects). After you create text, click the Select/Transform tool and, holding the mouse button down, choose the Transform Glyph tool from the pop-up menu.
If you are in list view, the font list appears in the stack. If you are in icon view, font thumbnails appear in the stack. In the images on the following pages, icon view is selected. Icon view List view 3 In the stack, click a font thumbnail or name. The font is displayed in the preview area, with the font name and type.
Changing Fonts There are two ways to use the Library to change the font of text in the Canvas: dragging a font to a text object in the Canvas or using the Apply button. To change the font by dragging a font to the Canvas 1 In the Library, click the Fonts category and then the font subcategory. 2 Drag a font from the stack onto the text in the Canvas. As you drag the font over the text, a transparent thumbnail of the font appears and the pointer becomes a green add pointer (+).
4 In the preview area, click Apply. Apply button The text is changed to the selected font. Navigating the Font List To locate a font by its name in the font stack, type the first letters of the font name. To select a font by typing the first letters of its name 1 Click a font name or thumbnail in the font stack. 2 Quickly type the first two letters of the font name. The font you seek is highlighted in the stack.
The Text Inspector is divided into three subpanes: Format, Style, and Layout. The Format pane contains text basics, such as font, size, and tracking. The Style pane contains text characteristics such as face, outline, and blur. The Layout pane contains text layout controls, such as margins and controls for modifying text on a path. If a text parameter can be animated, moving the pointer over the right side of the parameter row enables the Add Keyframe button and the Animation menu.
Editing Text with Applied Sequence Behaviors Text Sequence behaviors create animations that sequence text style and text format attributes through the text characters. The style attributes include face (fill color), glow, drop shadow, and outline. The format attributes include position, opacity, scale, rotation, tracking, and so on.
Editing Text Format The Format pane of the Text Inspector contains the controls for text basics such as font, typeface, size, kerning, and character rotation. Many Format parameters can be animated (keyframed). For information on the controls in the Format pane, see Basic Formatting Controls. For information on performing tasks using the Format pane controls, see Text Format-Related Tasks. µ 828 To show the Format pane of the Text Inspector In the Text Inspector, click Format.
Finding and Replacing Text The Find and Replace window lets you locate and change a word (or a set of characters) in a Motion project. You can search in a selected text object, or in all text objects. This tool is useful for changes to long-form text objects, such as credit rolls. To use Find and Replace 1 Choose Edit > Find and Replace (or press Command-F). The Find and Replace window appears. 2 In the Find field, enter the text to search for; in the Replace Field enter the replacement text.
Whole words: Select this checkbox to search for whole words. When this checkbox is not selected, the search finds the specified text when it’s contained anywhere within words. Loop search: Select this checkbox to have the search continue from the beginning of the text after reaching the end of the text. When Selected Text Object is chosen from the “Search in” pop-up menu, the search loops back to the beginning of the selected text object.
Collection: Use this pop-up menu to filter the font categories available in the Font pop-up menu. When set to All Fonts, every font installed on your Mac OS X system appears in the Font pop-up menu. Font: Use this pop-up menu to choose the font for the text. Typeface: Use this unlabeled pop-up menu to the right of the Font pop-up menu to set a type style, such as Regular, Bold, Condensed, and so on. The available typefaces are specific to the font family selected in the Font pop-up menu.
Advanced Formatting The Advanced Formatting controls are used less often than Basic Formatting controls. They affect additional aspects of selected text. Scale: Use this slider to scale text characters proportionally. To scale in only X or Y space, click the disclosure triangle to set separate X and Y scale values. In the following image, the text X Scale is set to 50%, and the Y Scale is set to 100%.
For more information about the Animate parameter, see Parameters in the Properties Inspector. Note: The Rotation parameter must be keyframed Animate parameter options to have effect. The Animate pop-up menu contains the following options: • Use Rotation: The default interpolation method, whereby text characters rotate from their start rotation to their final rotation. Depending on the animation, the characters may twist before reaching their final orientation (the last keyframed value).
To preview fonts in the Canvas 1 Select the text. 2 In the Format pane of the Text Inspector, open the Font pop-up menu. The menu of available fonts opens. 3 Drag the pointer up or down in the menu to preview fonts. As you drag through the menu, the text changes in the Canvas. 4 After you choose a font, release the mouse button. Note: You can also use the wheel of a three-button mouse or a two-finger swipe on a Multi-Touch trackpad to move up and down the menu.
• Press Control–Left Arrow to reduce the space between characters by one-pixel increments. Editing Text Style Use the Text Style pane to specify the text fill and to adjust text opacity, softness, and other attributes. Text can be a solid color, an image, or a color gradient. In the Style pane, you can also apply outlines, glows, and drop shadows to text. Most style parameters can be animated. A set of premade text styles is available in the Motion Library.
µ To show the Text Style pane In the Text Inspector, click Style. Text Controls in the Style Pane This section describes the parameters in the Style pane of the Text Inspector, which include the Face, Outline, Glow, and Drop Shadow groups. Some parameter groups remain hidden until you expand them by clicking the Hide/Show icon to the right of the group header. µ µ 836 To collapse or expand a parameter group Click the Hide/Show icon on the right side of the group header row.
Note: Resetting parameter groups does not affect the activation checkbox for the group. Text Face Controls in the Style Pane Use the Face parameter controls to specify whether text is a solid color, a color gradient, or a texture. Nearly all Face parameters can be animated. Note: You can distort the fill of text independently of other style parameters. For more information, see Adjusting Glyph Attributes.
Four Corner: Use these value sliders to control the position of the face attribute and distort the text characters. In the following illustration, the Four Corner parameter in the Face controls has been modified (but the Four Corner parameter for the red outline has not been modified). Click the disclosure triangle to reveal the following value sliders: • Bottom Left: Offsets the text fill from the lower left of its original position.
For information on using Texture controls, see Text Texture-Related Tasks. Texture parameters respect filters applied to the source image but ignore transforms applied to the image. For example, if the image used as the source texture has a glow filter applied, the glow appears in the text’s texture. However, if the image used as the source texture is scaled or moved, or if the image contains applied behaviors, the result of these transforms does not appear in the applied texture.
Frame: When using a movie or image sequence as the texture source, use this slider to specify a start frame for the texture. Hold Frame: When using a movie or image sequence as the texture source, select the Hold Frame checkbox to freeze the frame specified in the Frame parameter. The selected frame is used as the texture for the text object’s total duration. Offset: Use these value sliders to specify the X and Y values of the position of the source texture (relative to the text object).
Opacity: Use this slider to set the opacity of the text outline. Blur: Use this slider to set the softness of the text outline. Width: Use this slider to set the thickness of the text outline. Layer Order: Use this pop-up menu to set whether the outline is drawn over or under the text face. Four Corner: Use these value sliders to control the position of the outline attribute, allowing for outline distorting effects.
Note: You can distort the glow of text independently of other style parameters. For more information, see Adjusting Glyph Attributes. Glow: Use this activation checkbox to enable or disable glow parameters in this group. Glow is disabled by default. Fill with: Use this pop-up menu to set the fill for the glow. As with the Face and Outline controls, you can set the glow fill to Color, Gradient, or Texture.
• Top Right: Offsets the text glow from the upper right of its original position. Enter a value in the left value slider to offset the text fill in X space; enter a value in the right value slider to offset the text fill in Y space. Click the disclosure triangle to access X and Y position values. • Top Left: Offsets the text glow from the upper left of its original position.
Fixed Source: Select this checkbox to make the drop shadow behave as if cast by a fixed light source, regardless of camera or text movement. Four Corner: Use these value sliders to control the position of the drop shadow attribute. This allows for outline distorting effects. Click the disclosure triangle to reveal the value sliders: • Bottom Left: Offsets the text drop shadow from the lower left of its original position.
Changing a Style Attribute for a Single Text Character The style attributes (face color, outline, glow, and drop shadow) for text characters (glyphs) can be individually defined. To change a style attribute of a glyph 1 Select the Text tool in the toolbar, then drag in the Canvas to select the glyph to modify. 2 In the Style pane of the Text Inspector, modify an attribute. Only the selected text character is affected. Note: You can also modify the style attributes of a glyph with the Transform Glyph tool.
Note: To select a color from the Canvas (or anything on the desktop), click the color picker in the Colors window, position the picker over the color you want to select, then click. Color picker To set the text color in the Inspector 1 Select the text. 2 Open the Style pane of the Text Inspector. 3 In the “Fill with” pop-up menu, ensure that Color is selected. 4 Do one of the following: • Click the color well, then use the Colors window to set the text color.
• Click the downward arrow to the right of the color well (or Control-click the color well), then click in the pop-up color palette to select a color. Drag in the lower palette to set the color to a grayscale color. Original color New color Click here to select a grayscale color. • Click the eyedropper tool to the right of the Color well, then click a color in the Canvas.
Applying a Gradient to Text In the Inspector, you can apply a gradient fill to text. The gradient can be customized and animated in the Gradient editor. For general information about working with gradients, see Using the Gradient Editor. Note: Text gradient controls are similar to gradient controls for shapes, particles, and replicators, with a few exceptions. For example, text gradient controls include a dial to specify the direction of a linear gradient.
Applying a Preset Gradient to Text There are two ways to apply a preset (or saved) gradient from the Library to text. The first method is to use the Gradient preset pop-up menu in the Text Inspector. The second method is to drag a gradient from the Library to text. To apply a preset gradient in the Text Inspector 1 Select the text and make sure the "Fill with” pop-up menu is set to Gradient. 2 Choose a preset from the Gradient preset pop-up menu (on the right side of the Gradient row).
A preview of the selected gradient appears in the preview area. 3 Do one of the following: • Drag the gradient to the text in the Canvas, Layers list, or Timeline. • Make sure the text is selected, then click Apply in the preview area. After the preset gradient is applied to a text object, the preset can be edited with the Gradient editor. For more information, see Using the Gradient Editor.
Note: The Opacity parameter in the Properties Inspector and the Opacity parameter in the Style pane of the Text Inspector are separate controls. When both are adjusted for a text object, the effect is multiplicative. In other words, if Opacity is set to 50% in the Properties Inspector and then set to 50% in the Style pane, the resulting opacity for the text is 25%. To set the text opacity in the HUD 1 Select the text using the Select/Transform tool. 2 Press F7 (or D) to display the HUD.
Changing Text Softness Use the Blur parameter in the Style pane of the Text Inspector to adjust the softness of text. To adjust the softness in the Inspector 1 Select the text. 2 In the Text Inspector, Click Style to open the Style pane. 3 In the Face controls, drag the Blur slider, or enter a blur amount in the value slider. The text softness is updated as you drag the slider. Text Texture-Related Tasks Use the Texture controls in the Style pane to apply and edit texture effects.
Important: When dragging an image to the well, be sure to click and drag in one movement. If you click the image and release the mouse button, the image is selected and its Inspector appears. To replace a texture 1 Select the text and display the expanded Texture controls in the Style pane. 2 In the Layers list or Media list, drag an image into the Image well. The new image appears in the well and is applied to the text.
Note: You can adjust the position of a texture for a single glyph by selecting the glyph with the Text tool or by using the Transform Glyph tool. For more information on working with glyphs, see Working with Text Glyphs. Animating a Texture You can set keyframes for the offset values of the texture source to create a moving element within text. In the following example, an image of a leopard lying in the grass is used as the texture source for the text “leopard.
The image within the text moves, and a keyframe is created in the Offset parameters. Text layer with texture applied 5 Move the playhead to the next frame where you want to set a keyframe. 6 Move the texture to the new position. Repositioned text layer texture 7 Disable Record. 8 Go to frame 1 (or the start frame of the animation) and play the clip. The texture offset is animated. Note: You can also use the Animation menu in the Inspector to set keyframes without enabling Record.
4 To position the texture, do one of the following: • Press Command, then drag in the Image well. • Use the Offset value sliders to enter an offset value. The image within the text moves, and a keyframe is created in the Offset parameters. 5 Move the playhead to the next frame where you want to set a keyframe. 6 Move the texture to the new position. 7 Go to frame 1 (or the start frame of the animation) and play the clip. The texture offset is animated.
To use text to mask an image 1 In the Layers list or Canvas, select the object to use as the texture. 2 Choose Object > Add Image Mask (or press Command-Shift-M). A blank image mask layer is added to the image.
3 Drag the text to use as a mask to one of the following: • The Mask Source well in the Image Mask HUD Mask Source well • The Image Mask layer in the Layers list • The Image well in the Image Mask pane of the Inspector The text masks the image. For more information, see Using Shapes, Masks, and Paint Strokes. Adding a Text Outline To create a text outline, select the Outline checkbox in the Style pane of the Text Inspector. To create an outline for text 1 Select the text.
The default outline color is red, with a width of one point. Tip: Deselect the Face checkbox to display a text outline with no fill. Editing Text Outlines Use the Outline controls to soften the opacity or blur of a text outline, change the width of an outline, or to set and edit the fill of an outline. For more information about adjusting text outlines using onscreen controls, see Working with Text Glyphs.
Editing Text Glow Use the Glow controls to soften the opacity or blur of the text glow, to change the size of the glow, or to set and edit the fill of a glow. For more information about adjusting text glows using onscreen controls, see Working with Text Glyphs. Note: The Glow “Fill with” options—Color, Gradient, and Texture—are equivalent to the controls for Face parameters. For information on using these controls, see Text Face Controls in the Style Pane.
Using and Creating Preset Text Styles The Motion Library contains a set of preset text styles that you can apply to text. A text style is a group of Style parameters that are modified and saved in the Library. For example, the Tropical Waters text style includes a gradient fill simulating the colors of a tropical lagoon and a sheer blue-colored glow that is set over the text face, then scaled down and offset.
2 Select a style from the stack. 3 Do one of the following: • Select the text, then click the Apply button in the preview area. • Drag the style from the stack to the text object in the Canvas, Layers list, or Timeline.
The text style is applied to the text. To apply a text style from the Text Inspector 1 Select text you want to apply a style to.
2 In the Style pane of the Text Inspector, choose an item from the Preset pop-up menu. Preset pop-up menu The text style is applied to the text. Saving a Custom Text Style After you modify parameters in the Style pane (such as Gradient or Glow) or Format pane (such as Tracking or Slant), you can save the style you create to the Text Styles category in the Library. These custom styles can then be used and applied like preset styles.
Note: Custom presets saved to the Library are stored in /Users/username/Library/Application Support/Motion/Library/Text Styles/. To save a modified text style to the Library 1 Select the text with the modified parameters you want to save as a style. 2 In the Style pane, open the Preset pop-up menu and choose one of the following options: • To save a style with only the Style pane parameters, choose Save Style Attributes. • To save a style with only the Format pane parameters, choose Save Basic Attributes.
µ To show the Text Layout pane In the Text Inspector, click Layout. Text Controls in the Layout Pane This section describes the parameters in the Layout pane of the Text Inspector. Some parameter groups remain hidden until you expand them by clicking the Hide/Show icon to the right of the group header. µ µ 866 To collapse or expand a parameter group Click the Hide/Show icon on the right side of the group header row. (The icon is not visible until you move the pointer over it).
Note: Resetting parameter groups does not affect the activation checkbox for the group. General Text Controls in the Layout Pane Use the Text Layout controls in the Layout pane of the Text Inspector to specify general arrangement of your text. These controls allow you to make text flow in a single line, in a paragraph with set margins, or on a path. Layout Controls: This section of the Layout pane contains basic layout options for a text object.
• Scroll: Positions the margins of the text entry field to match the project’s safe zones in preparation for a scrolling animation. When Layout Method is set to Scroll, double-clicking the text in the Canvas displays a ruler and an enhanced scroll control that displays a preview of the text. Drag in the scroll bar to navigate through large amounts of text. For more information on safe zones, see Zones.
• Auto-Shrink: Use this pop-up menu, available when Layout Method is set to Paragraph, Scroll, or Crawl to change the vertical or horizontal scale of selected letters to ensure the text fits within the margins of the text object. Choose one of the following options: • Off: No scaling occurs. Text exceeding the width or height of the text object extends beyond the visible edges of the screen for scrolling or crawling text, or wraps to the next line for paragraph text.
After you select Flatten, the text characters no longer move in 3D space. Flattened text image only exists in X and Y and can only interact with other objects as a flat card. Use the following guidelines for the Flatten checkbox: • The Flatten checkbox must be selected for text to receive reflections. If the Flatten checkbox is not selected, the Reflections parameter does not appear in the Properties Inspector. For more information on using reflections, see Reflections.
Additionally, this setting is not available when Scroll or Crawl is selected from the Layout Method pop-up menu (because those layout methods cause text to flatten). Note: Because text characters are 2D (flat) objects, text may not be visible when you use orthogonal camera views, such as Left, Right, and Top (unless the text object or characters are rotated in 3D space). This is because orthogonal views are at right angles (perpendicular) to objects in the Canvas.
• Line: Rotates each line as if individual lines had their own anchor points. • All: Rotates all text as a single object. • Position: Use these value sliders to define the position of the anchor point specified in the Anchor Point pop-up menu. Click the disclosure triangle to display the X, Y, and Z value sliders. To see a visual representation of the anchor point, select the text with the Transform Glyph tool. For more information on the Transform Glyph tool, see Working with Text Glyphs.
Text Path Options in the Layout Pane This group of controls in the Layout pane lets you specify the initial shape of a text path, and to modify the path and text on that path. This group is only active when the Layout Method pop-up menu at the top of the Layout pane is set to Path. For more information about creating a text path, see Text Layout-Related Tasks. The Transform Glyph tool can be used with text on a path. For more information, see Working with Text Glyphs.
Radius: Use this slider, available when Circle is the defined path shape, to change the size of the circular path. Click the disclosure triangle to adjust the X radius and Y radius. Note: When the Text tool is selected, you can also use onscreen control points to resize the circle. Press Shift to resize the X and Y radii uniformly. Size: Use this slider, available when Rectangle is the defined path shape, to change the size of the rectangular path.
Attach to Shape: Select this checkbox, available when the Path Shape pop-up menu is set to Geometry, to force the motion path to follow the source shape at the shape’s original location. When Attach to Shape is deselected, the motion path can be offset from its source shape (by dragging the shape object to a new location in the Canvas). Note: When Attach to Shape is selected, you cannot drag the shape object to another location.
There are several ways to create and adjust text margins, including using onscreen controls and the Layout pane in the Text Inspector. You can set a margin for text before or after it is created. Layout Method is set to Paragraph. Margin controls Left, Right, Top, and Bottom Margins: Use these sliders, available when Layout Method is set to Paragraph, Scroll, or Crawl, to define the text margins in the Canvas. For more information on working with margins, see Text Margin and Tab-Related Tasks.
Tab Controls in the Layout Pane Motion allows paragraph-formatted text to contain an unlimited number of tabs to control word spacing in text. By default, text created in Motion has no tabs, so there are no controls in the Tabs section of the Layout pane. Adding, moving, and removing tabs is done in the Canvas. You can also move tabs by modifying their values in the Inspector.
Text Layout-Related Tasks These tasks are useful when editing text Layout parameters, which include working with text on a path and creating a type-on effect. Creating Text on a Path To place text on a path, you create a text object, set the Layout Method to Path, then use the Path Options parameters to modify the text on a path. To create text on a path 1 Select the text to place on a path. 2 In the Layout pane of the Text Inspector, choose Path from the Layout Method pop-up menu.
Using Behaviors with Text on a Path Text, Simulation, Parameter, and Basic Motion behaviors can be applied to text on a path. This allows for the creation of clever and complex animation. For more information on using Simulation and Parameter behaviors, see Using Other Behaviors with Text. Modifying the Path Shape The Text tool must be selected to view and edit the text path. Use the following procedures to modify the shape of the path.
When additional text characters are added to text that is on a path, the default path may appear too short. In the following images, the first image shows the original text placed on a path. The second image shows additional text. In the second image with the added text characters, the path is shorter than the text. Initial text on path µ Additional text added To extend a text path With the Text tool selected, drag the last control point toward the end of the text.
Note: Clicking any path control point and holding down the mouse button displays the point number (based on the order the points are drawn on the path) and X, Y, and Z coordinates in the status bar. Path control points are also listed by number in the Layout pane of the Text Inspector. To adjust the text path in 3D space 1 If there is no camera in the project, add a camera by doing one of the following: • Click the Add Camera button in the toolbar. • Choose Object > New Camera (or press Command-Option-C).
Tip: If the path selection disappears, reselect the text layer in the Layers list. Note: To enter values for the control point locations for Open Spline or Closed Spline, click the Control Points disclosure triangle in the Path Options group of the Layout pane. The first value field is X, the second value field is Y, and the third value field is Z. 4 To change the camera view, choose another camera view from the Camera menu in the upper-left corner of the Canvas. Text on a path in Right camera view.
To isolate a group or layer Do one of the following: µ In the Layers list (or Timeline), click the Isolate button. Isolate button µ µ µ Control-click the layer or group, then choose Isolate from the shortcut menu. Choose Object > Isolate. Click the Isolate button again to return to your previous view. Note: Clicking a camera’s Isolate button activates that camera’s view. Using Geometry for a Path Source The following section describes how to use geometry as the source for a text path.
2 Set the text Layout Method to path, then choose Geometry from the Path Shape pop-up menu. Path Shape set to Geometry The Shape Source well appears in the Inspector. 3 From the Layers list, drag the shape to the Shape Source well. 4 When the pointer becomes a curved arrow, release the mouse button. A thumbnail of the shape appears in the well and the shape is used as the source shape for the text path.
To animate text on a path 1 Create the path for the text to travel along. 2 Go to the frame where you want to begin the animation, and enable Record (press A). Note: Using shortcut keys while in text-editing mode can add characters to your text. 3 In the Layout pane, adjust the Path Offset slider or value slider to the amount you want to move the text on the path. A keyframe is added to the Path Offset parameter. This icon indicates a keyframe is present at the current playhead position.
A positive value moves the text toward the right, and a negative value moves the text toward the left. You can enter values greater than 100% or less than 0% in the value slider. A value greater than 100% moves the text completely off the path to the right; a value less than 0% moves the text off the path to the left. In the following image, the Path Offset is set to 105%, so the text is completely off the right end of the text path. 4 Go to the frame where you want to place the next keyframe.
2 In the Layout pane, set Layout Method to Paragraph. 3 Set margin values using the Left, Right, Top, and Bottom Margin sliders. 4 Press Esc or click the Select/Transform tool to select the text bounding box and exit text-editing mode. Working with Tabs When an RTF file is imported into a Motion project, tabs defined in the RTF file are retained. You can also add and modify tabs to text created in a Motion project.Lines of text that are separated by hard returns can have different tabs.
µ To change a tab type in the Canvas Double-click a tab icon in the ruler. The tabs cycle through the right, center, left, and decimal types. µ To change a tab type in the Inspector In the Tabs section of the Layout pane of the Text Inspector, choose an option from the Tab type pop-up menu. The tabs icon is updated in the ruler in the Canvas. To move the tabs 1 Double-click in the text to display the text box, ruler, and scroll control.
When the Transform Glyph tool is selected and Attribute is set to Transform Glyph (in the Text HUD), transform onscreen controls appear. These controls are identical to the 3D onscreen transform controls. For more information on using these controls, see 3D Transform Onscreen Controls. The Attribute parameter is also available in the Sequence Text behavior, which allows you to sequence any of the glyph effects through text.
2 Choose the Transform Glyph tool from the 2D transform tools pop-up menu in the toolbar. If no glyph was selected, the first glyph in the text is selected. 3 Do one of the following: • To scale, rotate, or move the glyph, select Transform Glyph from the Attribute pop-up menu in the Text HUD. • To distort a text style attribute, select Face, Outline, Glow, or Drop Shadow from the Attribute pop-up menu in the Text HUD. Note: If the HUD does not appear, choose Window > Show HUD (or press F7).
3 Do one of the following: • While pressing the Shift key, select the other glyphs to include in your edit. • Drag to select the other glyphs to include in your edit. • While pressing the Command key, click to select noncontiguous glyphs to include in your edit. Although the onscreen controls appear only around the focused (last selected) glyph, any glyph surrounded by a box is affected by adjust the onscreen controls.
To reset a rotated glyph 1 If the glyph is not selected, select the Transform Glyph tool from the 2D transform tools in the toolbar, then select the glyph or Shift-select a group of glyphs. 2 In the Format pane of the Text Inspector, click the Animation menu for the Rotation parameter and choose Reset Parameter. The glyphs return to their original rotation.
The glyph is enclosed by a bounding box with eight handles: four corner handles for distorting, and four shearing handles located in the middle of the bounding box edges. Corner handle Shearing handle 3 Do one of the following: • To shear the style attribute, drag a shearing handle. • To distort the style attribute, drag a corner handle. After you adjust the attribute (Glow in this example), that parameter is selected in the Style pane of the Text Inspector (the Glow activation checkbox).
Resetting Adjusted Glyph Attributes When a glyph’s attributes are modified using the Transform Glyph tool, the changes are reflected in the Style pane of the Text Inspector. Although you can only modify a style attribute of one glyph at a time, you can reset multiple glyphs at one time. µ To reset a single modified glyph attribute With the glyph selected (using the Transform Glyph tool), click the reset button for the Four Corner parameter in the Style pane of the Text Inspector.
Note: To deselect the Flatten checkbox when a filter is applied, turn off (or remove) the filter in the Layers list, select the text, then deselect the Flatten checkbox (in the Layout pane of the Text Inspector). If you turn the filter back on, the text is flattened again. (The Flatten checkbox is selected and the parameter is disabled.) To apply a behavior to text Do one of the following: µ In the Library, select a behavior, then drag it to the text in the Canvas, Layers list, or Timeline.
Note: If no HUD is present when the text is selected, press F7 or D to display the Text HUD. When a text object and the 3D Transform tool (in the toolbar) are selected, the 3D transform tools become available in the HUD. These additional controls allow you to transform the text object in X, Y, and Z dimensions, regardless of whether the group is 2D or 3D. For more information on using the 3D transform tools in the HUD, see 3D Transform HUD Controls.
When the Transform Glyph tool is selected from the 2D transform tools in the toolbar, the Attribute pop-up menu and 3D transform tools become available in the Text HUD. The Attribute menu specifies the glyph attribute to be modified. For more information on glyphs, see Working with Text Glyphs. Text Parameters in the HUD The Text HUD includes the following controls: Opacity: Use this slider to change the opacity value of the text object—the text face, outline, glow, and drop shadow.
Tracking: Use this slider to change the tracking value of text. Drag left (for a negative tracking value) or right (for a positive tracking value). Note: The text Tracking sliders (in the HUD and in the Inspector) are limited to 100%. To set a larger tracking value, drag the value slider or enter a number in the Tracking field in the Format pane of the Text Inspector. Line Spacing: Use this slider to change the space between lines of text.
Animating Text 17 You can animate text using behaviors, keyframes, or a combination of both. All standard behavior types can be applied to text (Basic Motion, Parameter, or Simulation). Additionally, Motion has a special class of text behaviors that create animation by applying a range of values to text-specific parameters. For more information on Basic Motion, Parameter, and Simulation behaviors, see Using Behaviors.
• Preset Text Sequence Behaviors (p. 929) • Saving a Modified Text Behavior to the Library (p. 935) • Using Other Behaviors with Text (p. 936) • Using Behaviors to Animate Text in 3D (p. 938) • Animating Text with Keyframes (p. 939) • Animating with the Transform Glyph tool (p. 939) Text Animation and Text Sequence Behaviors In Motion, text behaviors are divided into two basic categories: Text Animation behaviors and Text Sequence behaviors.
Applying a Text Behavior Text behaviors are applied in the same manner as all other behaviors in Motion—via the Library or the Add Behavior pop-up menu in the toolbar. As with other behaviors, the Library allows you to see a preview of the behavior before it is applied to text. The Add Behavior menu allows you to apply a behavior to single or multiple text objects. To apply a Text behavior from the Library 1 Create a text object in your project.
A preview of the animation plays in the preview area. The preview merely represents the default animation of the behavior, which can be modified. 4 Do one of the following: • Drag the behavior to a text object in the Canvas, Layers list, or Timeline. • Click the Apply button in the preview area. The Text HUD is replaced with the Text Behavior HUD. To apply a Text behavior from the Add Behavior pop-up menu 1 Select the text object (or objects) you want to apply the behavior to.
Using the Sequence Text Behavior Applying and activating a Sequence Text behavior is a two-step process: First, you add the Sequence Text behavior to a text object. Second, you assign the parameters of the text you want to animate, in the Behaviors Inspector or by manipulating the text object with the onscreen controls.
The upper area of the Sequence Text controls contains Add and Remove pop-up menus, which are used to select text parameters to be sequenced, or to remove parameters after they are added. The second group of parameters are sequence controls, which include options for setting the direction and speed of the animation, whether the animation is applied per character, per word, per text object, and so on. In this simple example, Opacity, Scale, and Glow scale are sequenced.
2 In the Parameter row, choose Format > Opacity from the Add pop-up menu. The Opacity parameter is added in the Behaviors Inspector above the Add and Remove menus. 3 In the Inspector, set Opacity to 0 and play the project (press Space bar). Because the Sequencing parameter is set to From by default, the opacity sequences from the value set in the behavior (0%) to original value of the text (100%). 4 In the Behaviors Inspector, choose To from the Sequencing pop-up menu.
The opacity sequences to the values defined in the behavior from the original values. The increased spread value softens the sequence between the characters. Note: Although the style effects created in the Sequence Text behavior (Face, Outline, Glow, and Drop Shadow) are independent of parameters in the Style pane of the Text Inspector (Face, Outline, Glow, and Drop Shadow), changes made in the Style pane affect the sequenced text.
To create a sequence animation using onscreen controls 1 With the Sequence Text behavior applied and the first letter (glyph) selected (with the Adjust Item tool), do one of the following: • To sequence the position of the text, drag the character in the Canvas to a new position. In the Behaviors Inspector, the Position parameter is added to the Format category (above the Add and Remove pop-up menus).
• To sequence the rotation of the text, rotate the selected glyph in the Canvas. To display the rotation controls, hold the Command key down. For more information on using onscreen transform controls, see 3D Transform Onscreen Controls. In this example, the text is rotated on its Y axis. In the Behaviors Inspector, the Rotation parameter is added to the Format category (above the Add and Remove pop-up menus).
When a glyph is selected with the Adjust Item tool, a section of the Timeline becomes highlighted. This area shows when the selected glyph is affected by the sequence behavior. Highlighted area indicates the animated locaton (in time) of the selected glyph µ To remove a parameter from the sequence behavior In the Parameter row of the Behaviors Inspector, choose a parameter from the Remove pop-up menu. The parameter is removed from the behavior.
Using the Text Style Pane with the Sequence Text Behavior Parameters you want to include in a sequence animation are assigned in the Sequence Text behavior. Attributes modified in the Style pane of the Text Inspector (Face, Glow, Outline, or Drop Shadow) do not sequence. Therefore, to modify a parameter but keep it unchanged over the course of a sequence animation, modify that parameter in the Style pane of the Text Inspector.
3 Drag the playhead to the frame where you want to begin the animation, then click the Record button (or press A) to turn on keyframing. When keyframing is enabled, the values in the Inspector for parameters that can be animated turn red. Note: You can also animate parameters by manually adding an initial keyframe. After a keyframe is added to a parameter, any further adjustment to that parameter adds a keyframe at the current playhead position, independent of the Record button state.
In the image below, an editable animation path appears in the Canvas. An animation path appears only when Custom is selected from the Sequencing pop-up menu. For more information on working with animation paths, see Manipulating Animation Paths in the Canvas. Note: If you change the Sequencing parameter to another option, such as Through Inverted or To, and then change Sequencing back to Custom, the custom animation path is retained.
3 In the lower portion of the Behaviors Inspector, choose Glow from the Attribute pop-up menu. Set Attribute to Glow The onscreen controls appear. Drag them to distort the attribute.
4 Do one of the following: • To distort the glow, drag a distort handle. Note: Some characters may not appear affected when you drag in the Canvas. However, when you play the project, all characters are affected. • To shear the glow, drag a shearing handle. You can also use the value sliders in the Four Corner parameters in the Behaviors Inspector. Click the Four Corner disclosure triangle to show the individual Bottom Left, Bottom Right, Top Right, and Top Left controls. 5 Play the project.
Onscreen controls appear that allow you to distort the text attribute. No parameters are added to the Inspector (above the Add pop-up menu) until the onscreen controls are adjusted. 2 Do one of the following: • To shear the glow, drag a shearing handle. • To distort the glow, drag a corner handle. After you adjust a handle, the Four Corner parameter is added to the sequence above the Add and Remove pop-up menus.
When you choose Format > Character Offset from the Add pop-up menu, the Character Set pop-up menu appears in the Behaviors Inspector. There are two menu options: Preserve Case & Digits and Full Unicode. Choose Preserve Case & Digits to ensure that offset characters respect the case and number of the original text. For example, with this option selected, an uppercase letter remains uppercase as other letters cycle through its position.
• Through Inverted: Specifies that the sequence goes through an inverted animation cycle starting from the value set in the sequence behavior, moves to the original value, and then returns to the value set in the sequence behavior. For example, if the original opacity value is 100% and opacity is set to 0% in the Sequence Text parameters, the text unit begins completely transparent, becomes opaque, and then becomes completely transparent. This is the opposite of the Through Sequencing option.
Random Seed: This control, available when Direction is set to Random, allows you to change the current “randomness” (seed number) of the direction of the sequence by typing a new number or clicking the Generate button. Speed: This pop-up menu tat sets the action of the sequence behavior to Constant, Ease In, Ease Out, Ease Both, Accelerate, Decelerate, or Custom. Note: By default, the sequence animation lasts for the duration of the text object to which it is applied.
• Per Object: The setting chosen in the Speed pop-up menu is applied one time for each object for every loop. For example, if Speed is set to Accelerate, the rate of the sequence animation increases as it moves through each text object for every loop. End Condition: This pop-up menu specifies how the animation is applied to the end of the sequence animation.
As the variance is increased, the randomness increases across the line of text. Because the text is riding on very short and frequent waves, the letters are offset in the Y axis with more randomness. When Custom is chosen from the Sequencing pop-up menu, the same principle applies, so a low variance value causes the text to offset from its animation with a smooth path, while a high variance causes more randomness.
• Amount: A slider that becomes available when Custom is chosen from the Sequencing pop-up menu, and defines the maximum amount that the animated parameter can deviate from its animation value. For example, the following image shows a custom animation of a glyph in the positive Y direction. When Amount is set to 50, the glyph deviates no more than 50 pixels to the left or right of the animation path. The bold red line shows the animation path, and the thinner red line displays the randomized path.
In the following images, the text position is sequenced. Fix is set to End Point. • Both: When variance is applied, the values defined in the Sequence Text behavior (above the Add and Remove pop-up menus) at the start and end of the behavior are fixed to the first and last frames of the behavior.
For more information about sequencing the warping of text attributes, see Sequencing the Distortion of Style Attributes. Position Type: When offsetting text attributes such as glows and outlines from text objects that contain characters of different sizes, this pop-up menu specifies whether an attribute is offset from the text uniformly (choose Absolute), or offset based on the size of text characters (choose Relative).
Scroll Text Behavior The Scroll Text behavior allows you to create scrolling or crawling text. Scroll Text can also be applied to other objects, such as shapes and images, to create integrated credits, prologues, and so on. When the Scroll Text behavior is applied to text, whether the text is imported (RTF or TXT files) or created in Motion, the Scroll Direction is set to Vertical by default (in the Behaviors Inspector) and the Layout Method is set to Scroll in the Layout pane of the Text Inspector.
Because the Start Off-Screen checkbox is selected by default, the object shifts off the Canvas to the right for the beginning of the crawl. The text is positioned in a single line and Layout Method is set to Crawl in the Layout pane of the Text Inspector. Change the direction, position, and speed of the scroll in the Inspector or HUD. 3 Click the Play button. The object crawls left in the Canvas. 4 To edit the text, double-click the text in the Canvas.
Scroll Rate Mult: This parameter control, available when Speed Control is set to Automatic, multiplies the rate of the scroll by the amount in the slider. Amounts higher than those available in the slider can be entered in the value slider (the number field at the right of the slider). Scroll Rate: This slider, available when Speed Control is set to Fixed, sets the speed of the scroll in pixels per second.
Text Tracking Behavior The Text Tracking behavior applies a rate of change to the Tracking parameter of the Format pane (in the Text Inspector). Tracking applies a uniform space between each character of text. µ To use the Text Tracking behavior Apply the Text Tracking behavior (from the Text Animation subcategory) to the text. By default, a Tracking rate of 10% is applied to text. As the project plays, the characters spread out based on the rate set in the Rate parameter of the Text Tracking behavior.
End Offset: This slider offsets the end of the effect of the Tracking parameter. By default, text characters track to the end of the duration of text. For example, to stop tracking animation 60 frames from the end of the text object (or project), drag the End Offset slider to 60 or enter 60 in the value slider.
The Type On behavior bar is selected in the mini-Timeline and Timeline. 2 Do one of the following: • In the Timeline or mini-Timeline, drag the right end of the Type On bar toward the left, to the frame where you want the animation to end. As you drag the new Out point, a tooltip displays the duration and delta (amount of change) of the behavior. • Drag the playhead to the frame where you want to set the new Out point, then choose Mark > Mark Out (or press O).
The following section discusses applying and customizing a preset behavior from the Text Sequence category. Customizing a Text Sequence Behavior In this section, the Flare In behavior (from the Glow group) is used to show how to modify a Text Sequence behavior. The following steps begin at the first frame of the text. To modify the Flare In behavior 1 Select the text object to be animated, then choose Text-Glow > Flare In from the Add Behavior pop-up menu in the toolbar.
The Inspector lists the specific text parameters used to create the animation (above the Add and Remove pop-up menus). The sequence Controls are not disclosed by default. Although most sequence Controls appear in the Flare In HUD, the Add and Remove pop-up menus (and the parameters they affect) do not. Note: In the Canvas, an editable animation path appears with the selected text. This is because Sequencing is set to Custom. For more information, see Using the Custom Sequencing Option.
A Rotation parameter is added to the sequence. Rotation parameter is added. Tip: Because most preset text sequence behaviors are keyframed, it is often helpful to see where the keyframes occur when customizing. In the Timeline, click the Show/Hide Keyframes button. The keyframes appear on the behavior’s bar.
5 Move the playhead to frame 1, then click Record to turn on keyframing. 6 In the Behaviors Inspector, set the Rotation dial to 90. 7 Play the project (press the Space bar). Because the Rotation parameter has only a single keyframe, the text remains static at 90 degrees. 8 Move the playhead to frame 30, and set Rotation to 0. Now that you’ve set a second keyframe value, the sequence is animated. Note: You can edit the keyframes in the Keyframe Editor. For more information, see Keyframes and Curves.
2 In the Text Inspector, open the Style pane. Glow is not selected by default when using the preset Text Sequence behavior. However, the Color well is still accessible. 3 Without selecting the Glow checkbox, choose a color in the Color well of the Glow controls. Important: Selecting the Glow checkbox results in an additive effect: The values defined in the Style pane are added to those in the sequence behavior. This may cause the preset to change in appearance.
To slow the sequence animation 1 Select the sequence behavior. 2 Do one of the following: • In the mini-Timeline or Timeline, drag the right end of the behavior bar right (to extend the behavior) to the frame where you want the animation to end. • Go to the frame where you want to set the new Out point, then choose Mark > Mark Out (or press O). Drag edge of behavior bar to change its duration. For more information, see Trimming Objects.
In this example, the behavior is dragged to the Favorites stack. When the green add pointer (+) appears over the stack window, release the mouse button. The behavior is saved to the Library. A custom behavior is represented by a user icon in the lower-right corner of the behavior icon. For more information on saving items to the Library and organizing custom content, see Adding Content to the Library.
2 Adjust the Throw so the text moves across the Canvas. 3 From the Simulations subcategory, apply the Edge Collision and Vortex behaviors to the text. 4 In the Inspector, select the Affect Subobjects checkbox for the Edge Collision behavior. 5 Play the project (press the Space bar). The text characters are swept around the screen in a vortex pattern. If the text characters start to move off the screen, they collide with the edge of the screen.
Note: Behaviors often contain parameters that specify how objects to which the behavior is applied are affected. These controls influence the result of a behavior when it is applied to text. For example, if you have text on a circular path and you apply a Spin behavior to the text, the text object rotates as a whole around its anchor point. To rotate individual text characters, select the Affect Subobjects checkbox in the Spin parameters.
For more information about 3D effects in Motion, see 3D Compositing. Animating Text with Keyframes You can create keyframes for most of the text parameters. As with all objects in Motion, there are two ways to create keyframes: by activating the Record button in the Canvas transport controls or by manually adding a keyframe to a parameter in the Inspector.
When Transform Glyph is selected, you can modify and animate the position, rotation, and scale of text characters. You can choose other options from the Attribute pop-up menu to activate transform handles that modify Face, Outline, Glow, and Drop Shadow parameters of text characters. 4 Move the playhead to the frame where you want the animation to begin, and click the Record button (or press A) to enable keyframing.
Working with Generators 18 Generators are objects in the Library that you add to a project to create instant graphical treatments such as colors, bars, stripes, noise, or gradients. Some generators create animated patterns. However, most default to static, patterned images that can be animated using behaviors or keyframes. This chapter covers the following: • About Generators (p. 941) • Adding a Generator (p. 942) • Modifying Generators (p. 943) • Generator Parameters (p. 953) • Text Generators (p.
Like all other objects in Motion, generators can be moved, rotated, duplicated, copied and pasted, and animated. Generators can be reordered in the Layers list and set to different blend modes. Also, as with other objects, you can apply behaviors to generators and apply Parameter behaviors to the individual parameters of a generator. You can also apply filters to generators, or use a generator as the source for a particle or replicator cell.
The generator preview appears in the preview area. If the generator is animated, such as Clouds, the animation plays in the preview area. 3 Drag the generator to your project. As with other objects, you can add the generator to your project by dragging it to the Canvas, the Layers list, or the Timeline. The generator and its HUD appear in your project. (If the HUD in not visible, press F7.) The HUD contains a subset of the complete controls that appear in the Generator pane of the Inspector.
Color 1 is replaced with the new color. 3 Click the Color 2 color well and select a color from the Colors window. Color 2 is replaced with the new color. 4 Drag the Size slider to change the size of the squares. The checker size is 80 by default. Drag the slider to the left to make smaller checkers, and to the right to make larger checkers. To change the size of the generator (rather than the size of the checkers), adjust the Width and Height parameters.
Although the checkerboard pattern does not change, adjusting the Contrast parameter can create dramatically different textures. Editing Generators Using Onscreen Controls The onscreen object transform tools, such as Transform, Anchor Point, Drop Shadow, and so on, can be used to modify a nontext generator. Changes made to the generator using these tools are reflected in the Properties Inspector.
3 Drag the control to a new position. The Offset or Center parameter is adjusted accordingly in the Generator Inspector. Animating Generators Although most generators create static images, you can animate the parameters of a generator to create a moving texture over time. This section discusses using the Generator Inspector to animate the Checkerboard generator from the above example. Note: You can also animate the parameters of an animated generator.
4 Move the playhead to the frame where you want to create the next keyframe. 5 In the Generator Inspector, change the generator Size, Colors, and Contrast parameter values. 6 Play the project (press the Space bar). The animated generator parameters create a moving, changing texture. If you’re satisfied with the result, press A again to turn off keyframe recording. Saving Modified Generators After you modify or animate the parameters of a generator, you can save the generator to the Library.
The modified generator is saved in the Generators category and appears organized alphabetically in the stack. Custom items saved in the Library are identified with a user badge in the lower-right corner of the icon. Customized generator saved in Library Sharing Saved Generators By default, any generator that you save in the Generators category in the Library is stored in your user folder: /Users/username/Library/Application Support/Motion/Library/Generators/.
3 Click the Animation menu for the Spike Opacity parameter, then choose Randomize from the Add Parameter Behavior submenu. The Randomize parameter behavior is applied to the Spike Opacity parameter, and the Behaviors Inspector is displayed so you can adjust the Randomize parameters. 4 In the Behaviors Inspector, drag the Amount slider to the right to increase the randomization effect. 5 In the transport controls (under the Canvas), click the Play button (or press the Space bar).
Because the Randomize parameter behavior is applied to the opacity of the star spikes, the star appears to flicker. When a Parameter behavior is applied to a parameter of a generator, a behavior icon (a gear) appears in the Generator Inspector in the row for the affected parameter. In this example, the behavior icon appears in the Spike Opacity parameter row. The gear icon indicates that the parameter is being controlled by a behavior.
Using Generators as Particle Cell Sources Like other objects, generators can be used as a source for particle cells. The following example uses the Soft Gradient generator. To give your particle system more flexibility and reduce processing strain on your computer, scale the generator down in the Generator Inspector. To use a generator as a particle cell source 1 Add the Soft Gradient generator to your project. 2 In the HUD or Generator Inspector, reduce the Radius value.
In this example, both are set to 100. The size of the gradient and its bounding box are scaled down. 4 With the generator still selected, do one of the following: • Press E. • In the toolbar, click the Make Particles button.
In the Canvas, the emitter bounding box appears. You can transform the bounding box using the onscreen controls or controls in the Inspector. The particle appears in the Canvas in the same location as the original object. Although it appears as if the particle is selected, the bounding box for the emitter is selected. 5 Press the Space bar to play the project. Soft gradient particles are emitted.
Parameters Common to All Generators All generators have a reset button and Width, Height, and Pixel Aspect Ratio controls, located in the Generator Inspector. The controls specific to each type of generator are discussed later in this chapter. • Reset: A button you can click to reset the generator to its default settings. Reset button • Width: A slider that sets the width of the generator, in pixels. Values range from 1 to the width of your project.
Important: The Opacity parameter in the HUD is identical to the Opacity control located in the Properties Inspector. This slider sets the transparency of the generator as a whole. Several generators contain a separate opacity control in the Generator Inspector, which is independent of the like-named control in the Properties Inspector. Caustics The Caustics generator creates an animated, simulated water surface.
Cellular The Cellular generator creates an animated pattern that looks like cells moving under a microscope. You can change the color, size, and speed of the cells. Default Cellular generator Modified Cellular generator Parameters in the Inspector Size: Sets the size of cells in the pattern. Values range from 3 to 64. Speed: Sets the speed of movement of cells. Values range from 0 to 2. Gradient: Sets the color gradient used for cells. For information on using gradients, see Gradient Controls.
You can also use the Adjust Item tool to adjust this parameter using onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Color 1: Picks the first color in the checkerboard. For more precise color selection, click the disclosure triangle to display Red, Green, Blue, and Opacity sliders. Color 2: Picks the second color in the checkerboard. For more precise color selection, click the disclosure triangle to display Red, Green, Blue, and Opacity sliders.
Method: A pop-up menu that sets the algorithm used to generate the clouds. Values can be set to Normal (default) or Turbulent. Offset: Sets the coordinates of the center of the clouds. Coordinates are calculated from the center of your object, which is the coordinate origin. You can also use the Adjust Item tool to adjust this parameter using onscreen controls. For more information, see Editing Generators Using Onscreen Controls. 1st Layer Strength: Sets the strength of the first layer of clouds.
HUD Controls The HUD contains the following control: Color. Concentric Shapes The Concentric Shapes generator creates a repeating pattern of shapes. Concentric Shape Circles Concentric Shape Polygons Parameters in the Inspector Shape: Specifies the concentric shapes. There are two choices: • Circles: Creates concentric circles. • Polygons: Creates concentric polygons with a minimum of three sides.
For more information on gradient editors, see Using the Gradient Editor. Color 1: Available when 2 Color is selected from the Color Type pop-up menu, sets the first color in the generator. Using the default settings, this color appears in the center of the concentric shapes. Color 2: Available when 2 Color is selected from the Color Type pop-up menu, sets the second color in the generator.
Gradient The Gradient generator initially creates a linear gradient. You can change the gradient type from linear to radial, add and remove colors in the gradient, and change the gradient start and end points. You can save a modified gradient to the Gradient category in the Library and apply it to shapes, text objects, or particle cells. Additionally, gradient controls can be keyframed to create a moving, color-changing gradient.
Grid The Grid generator creates a grid pattern made of two colored lines. By default they are white lines on a black background. Using the controls in the Inspector, you can customize the colors and line widths of the grid, and add graph paper lines. Default Grid generator Modified Grid generator (brown lines over a blue background that is set to .23 opacity, over a butterfly image) Parameters in the Inspector Offset: Sets the coordinates of the center of the grid.
Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. HUD Controls The HUD contains the following controls: Line Color, BG Color, BG Opacity, Feather, Line Width, Autofit, BG Width, BG Height, Graph Paper Lines, Graph Line Color, and Graph Line Frequency.
Streak Noise Frequency: Sets the frequency of the noise in the streaks. Values range from 1 to 100. Streak Noise Level: Sets the level of noise in the streaks of the lens flare. Values range from 0 to 20. Ring Radius: Sets the radius of the ring of the lens flare. Values range from 0 to 1. Ring Width: Sets the ring’s width. Values range from 0 to 1. Glow Falloff: Sets how fast the glow falls off of the lens flare. Values range from 0 to 20.
Start 1–4: Sets the starting point for the sheet wave. Experiment with these controls to find wave shapes. End 1–4: Sets the ending point for the sheet wave. Experiment with these controls to find wave shapes. Offset: Sets the coordinates of the center of the sheet. Coordinates are calculated from the center of your object, which is the coordinate origin. Brightness: Sets the brightness of the sheet. Color: Picks the color of the membrane.
One Color Ray The One Color Ray generator creates a ray pattern based on variations of a color. You can select the color, the degree of variance, the number of divisions represented, and the rotation of the pattern. One Color Ray generator One Color Ray generator modified Parameters in the Inspector Color Space: A pop-up menu that sets the color space. Generally, if you are working in NTSC, use YIQ. If you are working in PAL, use YUV. Offset: Sets the coordinates of the ray pattern’s center.
Outer Cutoff: Defines an outer stopping area for the generator. The lower the value, the more the outer edges of the generator are cut off. Objects composited below the generator in the project appear in the cutoff areas Publish OSC: Selecting this checkbox ensures that if this generator is sent to Final Cut Pro X as part of a template, the onscreen controls are accessible in Final Cut Pro. For more about publishing onscreen controls and other parameters see Creating Templates for Final Cut Pro X.
Roundness: Sets the shape of the waves. HUD Controls The HUD contains the following controls: Line Thickness, Color 1, Color 2, Contrast, Wavelength 1, Wavelength 2, Amplitude, and Roundness. Op Art 2 This generator creates mathematically oriented patterns using a repetition of simple shapes. Although some static patterns create a visual illusion of movement, you can keyframe Op Art parameters to create moving moiré patterns.
Op Art 3 This generator creates mathematically oriented patterns using a repetition of simple shapes. Although some static patterns create a visual illusion of movement, you can keyframe Op Art parameters to create moving moiré patterns. Default Op Art 3 generator Modified Op Art 3 generator (with Random Tile filter) Parameters in the Inspector Line Thickness: Sets the thickness of the lines in the pattern. Color 1: Sets the first color of the generator.
Soft Gradient The Soft Gradient generator creates a soft-edged, radial gradient. The gradient contains an alpha channel so you can place the generator over another image in the project. You can change and keyframe the color, size, and position of the Soft Gradient. Default Soft Gradient generator Modified Soft Gradient generator over image (yellow radial gradient in upper-left corner) Parameters in the Inspector Center: Sets the position of the center of the gradient.
Spirals This generator creates a repeating circular spiral pattern. Spiral default Modified Spiral Parameters in the Inspector Type: A pop-up menu that specifies whether a modern or classic spiral is created. There are two menu items: • Modern (Linear): Creates a modern spiral pattern: The color swirls remain evenly spaced as they move toward the center of the spiral. When Modern is selected, the Scale parameter becomes available.
• Classic (Exponential): Creates a classic spiral pattern: The color swirls become thinner as they move toward the center of the spiral. When Classic is selected, the Tightness parameter becomes available. Center: Sets the center point of the generator in the Canvas. The left value slider represents X; the right value slider represents Y. To access individual X and Y controls, click the disclosure triangle. You can also use the Adjust Item tool to modify this parameter with onscreen controls.
Color 2: Available when 2 Color is selected from the Color Type pop-up menu, sets the second color of the spiral. Gradient: Available when Gradient is selected from the Color Type pop-up menu, allows you to pick a gradient from the Library. Scale: Available when Modern is selected from the Type pop-up menu, determines the size of the spiral arms. Tightness: Available when Classic is selected from the Type pop-up menu, determines the curl of the spiral. The lower the Tightness value, the looser the spiral.
You can also use the Adjust Item tool to modify this parameter with onscreen controls. For more information, see Editing Generators Using Onscreen Controls. Color: Picks the halo around the star. Click the disclosure triangle to display Red, Green, Blue, and Opacity sliders for more precise color selection. Radius: Sets the radius of the circle at the center of the star. Values range from 0 to 300. Spike Scale: Sets the size of the star spikes. Values range from 0 to 100.
Color 1: Picks the color of the first stripe. For more precise color selection, click the disclosure triangle to display Red, Green, Blue, and Opacity sliders. Color 2: Picks the color of the second stripe. For more precise color selection, click the disclosure triangle to display Red, Green, Blue, and Opacity sliders. Size: Sets the width of individual stripes. Contrast: Sets the sharpness or blurriness of the edge between stripes. Values range from 0 to 1.
Waviness: Positive or negative values create waves in the rays. Values range from –10 to 10. Frequency: When Waviness is set to a value other than 0, determines the number of waves in the rays. Phase: When Waviness is set to a value other than 0, defines the offset of the waves from the start and end of the rays. Inner Cutoff: Defines a center stopping area for the generator. A value greater than 0 creates a hole in the middle of the generator; the greater the value, the larger the hole.
File The File generator displays the contents of a text file. The appearance (font, weight, size, and so on) of the text in the source text file is ignored in favor of the settings in the Inspector. The text file must be in plain text (TXT) format. In a File generator, each line of text appears onscreen, holds for a moment, and then disappears before the next line appears. You can control how the text appears using the controls in the Inspector.
Parameters in the Inspector Animate: Enables animation of the numbers as the project plays. When deselected, a static number is displayed. Start: Sets the beginning number for the generator. Slider values range from 0 to 100. For negative numbers or numbers greater than 100, use the value slider (to the right of the slider). Default values are based on the project. For example, when the Numbers generator is added to a default project of 300 frames, the Start value is 1 and the End value is 300.
Tip: When using Hexadecimal or Binary formats, inputs of very large numbers are required to create change in every character in the generator. For example, if the default Start and End values of 1 and 300 are used (in a default project of 300 frames), only the last two or three digits appear animated in the Hexadecimal format. If a number such as 4,294,967,296 is used, nearly all characters are animated.
HUD Controls The HUD contains the following controls: Format, Decimals, and Minimum Digits. Time Date The Time Date text generator displays the date and time based on settings in the Inspector. You can create a countdown or count-up animation by defining start and end values. You can also specify time units, as well as time and date format. The default date and time are based on the computer’s system clock at the time the generator is added to the project.
• Short: Displays the time in hours and minutes. • Medium: Displays the time in hours, minutes, and seconds. • Long: Displays the time in hours, minutes, seconds, and time zone. Date Format: Sets the date format used in the generator. Choose one of five options: • None: Displays no date in the generator. (The time appears in the generator if any option other than None is chosen from the Time Format pop-up menu.) • Short: Displays the month, day, and year in all-numeral style.
• Medium: Displays the month abbreviated to three letters without a period, the day, and the year. • Long: Displays the month spelled out completely, the day, and the year. • Full: Displays the day of the week and the month spelled out completely, the day, and the year. Region: Sets the region. By default, the generator uses the current system’s region. Click the Current button to set the current system’s region as the region for the generator. Click the Region pop-up menu to select another region.
HUD Controls The HUD contains the following controls: Current Timecode, Format, and Timecode Base.
Using Filters 19 In Motion, filters are special effects used to modify the appearance of images and video clips. You can apply filters to obtain artistic effects (blurs, distortions, glows, stylized looks), to perform image corrections (color balancing, deinterlacing, sharpening), and to create sophisticated composting effects (green screen keying). For information on keying filters, see Keying. This chapter covers the following: • About Filters (p. 986) • Browsing and Previewing Filters (p.
About Filters Motion filters are so easy to use, you might be tempted to adorn your kinetic graphics projects with a surfeit of visual effects. Using too many visual effects is not a good idea. The best way to think about filters is as a condiment for your project—not the entrée. A handful of thoughtful, well-executed filters goes further than a grab bag of every filter in the Library. Using too many filters adversely affects performance and can clutter and confuse the look of your project.
Browsing and Previewing Filters Filters appear in the Filters category in the Library, organized into subcategories specific to their function (such as Color Correction, Blur, and Tiling). After you select a filter in the stack, a preview and brief description of the filter appears in the Library preview area. To browse for a filter 1 In the Library sidebar, click the Filters category. A list of subcategories appears on the right side of the sidebar. 2 Click a filter subcategory.
Applying and Removing Filters In Motion, filters modify image layers (still images, video clips, shapes, and so on). Filters are applied to image layers in the Canvas, Layers list, or Timeline. An applied filter is attached to its target layer (or a folder containing layers), nested underneath it in the Layer’s list and Timeline layers list. Important: Some filters can cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image.
Special Considerations When Applying Filters to Text and Groups Filters affect text, 2D, and 3D groups in different ways. For more information on applying filters to 2D groups, see 2D Group Properties. For information on applying filters to 3D groups, see 3D Group Properties. For information on applying filters to text, see Adding Behaviors and Filters to Text. Applying Multiple Filters to an Object You can apply any number of filters to an object (image layer or folder) in Motion.
Improving Performance When Using Filters In large projects with complex motion graphics, applying multiple filters can adversely affect your computer’s performance. To ensure smooth playback, there are several things you can do to optimize your use of filters. When multiple layers are affected by a filter, rather than applying the filter multiple times, place the targeted layers in a single group and apply the filter to the group.
• At the top of the Filters Inspector, where you can turn the filter’s effect on or off and adjust all its parameters using sliders and other controls Filters Inspector • In the HUD, where you can adjust many filter parameters using sliders and other controls • In the Canvas, where you can manipulate the filter’s onscreen controls The controls in the Filters Inspector give you the most precise control over the parameters of a filter. A subset of those parameter controls is available in the HUD.
Enabling, Renaming, and Locking Filters Although the Filters Inspector contains editable parameters for any filter applied to an object, the Layers list and Timeline have three primary controls for each filter. Activation checkbox Lock icon Name Note: When a filter is selected, it appears in the mini-Timeline. For more information on using the mini-Timeline, see Mini-Timeline.
If the Adjust Item tool is not enabled, no onscreen controls are available for the selected filter. The onscreen controls appear in the Canvas. Note: Many filter onscreen controls adjust multiple parameters. To modify one parameter at a time, use the Filters Inspector or HUD.
Types of Onscreen Controls Several onscreen controls, such as Center, are common to many filters. However, some filters have unique onscreen controls. The following list provides examples of the types of controls available. If you’re unsure of an onscreen control’s function, drag it in the Canvas while viewing the Filters Inspector to see which parameter changes. • Center: This is the most common filter onscreen control. Drag in the center of the circle to reposition the filter’s Center parameter.
• Amount: This onscreen control has different representations, depending on the filter. In the Zoom Blur filter, drag the small circular handle (above the Center onscreen control) to adjust the Amount parameter. Zoom Blur filter Amount onscreen control In the Prism filter, drag the arrow handle inward or outward to adjust the Amount parameter. (Dragging the arrow in an arc adjusts the Angle parameter.
• Angle: This onscreen control also has different representations, depending on the filter. In the Page Curl Filter, drag the circular middle handle to adjust the Angle parameter. Kaleidotile filter Angle onscreen control In the Kaleidotile filter, drag a corner handle to adjust the Angle parameter.
• Rotate/Rotation/Twirl: This onscreen control has different representations. In the Page Curl Filter, drag the outer arrow handle to adjust the Rotation parameter. In the Scrape, Stripes, and Target filters, drag the small outer handle to adjust the Rotation parameter. Scrape filter Rotation onscreen control In the Twirl filter, the small outer handle adjusts the Twirl parameter.
• Radius/Thickness/Size/Falloff: This onscreen control has different representations. In the Disc Warp and Circle Blur filters, drag the large ring inward and outward to adjust the Radius parameter. In the Droplet and Ring Lens filters, drag the inner ring to adjust the Radius and Thickness parameters simultaneously. Drag in the area between the inner and outer rings to adjust the Radius parameter. Drag the outer ring to adjust the Thickness parameter.
• Segment Angle/Offset Angle: This onscreen control has multiple representations. In the Kaleidoscope filter, drag the outer handle to adjust the Segment Angle parameter. Drag the middle handle (between the center and outer handle) to adjust the Offset Angle parameter.
µ Control-click the image layer or folder to apply the filter to, then choose Paste from the shortcut menu. The filter is applied to the image layer or folder with its parameter settings intact. Note: Pasting a filter does not paste it at the playhead location. To move the filter to the playhead location, press the Shift key while dragging the pasted object in the Timeline or mini-Timeline. As you approach the playhead location, the filter snaps into place.
To duplicate a filter Do one of the following: µ Option-drag the filter from its location onto another image layer or group. The pointer changes to indicate duplication. µ Choose Edit > Duplicate (or press Command-D). The duplicate appears with “copy” appended to its name. When you use the Duplicate command (or keyboard shortcut), the duplicate appears above the original filter. Drag the duplicate to another layer or group.
A position indicator shows the new location for the filter. The Circle Blur filter moves above the Echo filter. µ Drag the filter name up or down in the Filters Inspector. The filters are reordered. Changing Filter Timing In Motion, the timing component of a filter is represented as purple a bar in the Timeline and mini-Timeline. Like other duration bars, filter timebars can be trimmed or moved (slipped) in their Timeline tracks to adjust the timing of an applied effect.
2 When the pointer becomes a trim pointer, drag the In or Out point to change the duration of the filter. Changing a filter’s Out point As you drag, the new In or Out point is displayed in a tooltip. Also displayed is the delta value, representing the amount of change. In addition to changing a filter’s duration, you can also slip a filter bar’s position in the Timeline track area relative to the layer under which its nested. This allows you to set the frame where a filter begins to take effect.
2 Click the Record button (or press A) to enable recording. 3 Move the playhead to the frame where you want to add a keyframe. 4 In the Filters Inspector or HUD change the parameter to a new value. Alternatively, you can use the filter onscreen controls to modify parameters in the Canvas. A keyframe is added when you modify a parameter value. 5 Go to the next frame where you want a keyframe. 6 Repeat steps 3–5 until you finish. Click the Play button (or press the Space bar) to see the results.
• Position the pointer over the right end of the parameter row, click the downward arrow to open the Animation pop-up menu, then choose Add Keyframe from the menu. Click to show the Animation pop-up menu Adding a keyframe in the Animation menu • Control-click the parameter name, then choose Add Keyframe from the shortcut menu. A keyframe is added at the current frame. 4 In the Inspector or HUD, or via the onscreen controls (if available), adjust the parameter value.
Applying Behaviors to Filter Parameters Animating filter parameters is easy using Parameter behaviors. For example, if you have an object with an applied Circle Blur filter, you can randomize the amount of blur applied to the object over time. To apply a Parameter behavior to a filter parameter 1 Select the object with the applied filter.
Publishing Filter Parameters and Onscreen Controls When you create effects templates in Motion 5 for use in Final Cut Pro X, you can choose which parameter controls are available in the special effect, title, transition, or generator when it is applied to a clip in Final Cut Pro. For example, if you create a Final Cut effect template using a Scrape filter, you can export the Rotation control to Final Cut Pro, but not the Amount or Mix sliders.
To publish a filter’s onscreen controls 1 In the open template project, select a filter. 2 In the Filters Inspector, select the Publish OSC checkbox. To review parameters set to be published in your template 1 In the Layers list, click the Project object. 2 In the Project Inspector, click Publishing. All parameters (for all object types) set to be published appear in the Publishing pane. Note: Published filter onscreen controls do not appear in the Publishing pane.
Blurring individual channels allows you to create customized glow effects by retaining sharpness in selected channels while softening others. Original image Amount = 15, Blur Red On Parameters in the Inspector Amount: Sets the radius of the object blur. Blur Red: Sets the blur to affect the red channel. Blur Green: Sets the blur to affect the green channel. Blur Blue: Sets the blur to affect the blue channel. Blur Alpha: Sets the blur to affect the alpha channel.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Center of Circle Blur on the right side of crab Parameters in the Inspector Center: Sets the position of the center of the blur effect. Drag the Center onscreen control to adjust its value in the Canvas. Amount: Sets the amount of the blur. Radius: Sets the radius of the circle defining the blurred area.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Map image Compound Blur applied Parameters in the Inspector Amount: Sets the radius of the blur. Blur Map: Displays a thumbnail of the current map. To add an object (image, shape, text, and so on) to use as the blur map, drag the object to the Blur Map well. Note: You can also apply or replace the blur map by dragging the source object onto the filter in the Layers list.
HUD Controls The HUD contains the following controls: Amount, Blur Map, and Map Channel. Defocus Mimics the out-of-focus effect that occurs through a real-world camera lens. The Defocus filter blurs an image while creating realistic lens artifacts that mimic the aperture shape in brighter areas of the image. The shape of the blur can be customized. Tip: Use this filter when you are trying to blur an image to match video or stills shot with a camera.
Directional Blur Blurs an object along a specific angle. This filter creates a blurred streaking effect. Note: The more filters you use in a project, the more you impact the performance of Motion. Original image Directional Blur applied Parameters in the Inspector Amount: Sets the radius of the blur. Drag the arrow onscreen control to adjust the amount (and angle) of the blur in the Canvas. Angle: Sets the angle of the direction of movement.
Gaussian blur is relevant for most motion graphics tasks, and can be animated for various focus-control effects. However, to more accurately simulate camera focus, the Defocus filter might be a better choice. For more information on the Defocus filter, see Defocus. Original image Gaussian Blur applied Parameters in the Inspector Amount: Sets the radius of the blur. Horizontal: Sets the percentage of the Amount applied in the horizontal direction.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Point 1 upper left, Point 2 lower right Parameters in the Inspector Point 1: Sets the position of the start point of the gradient. Drag the Point 1 onscreen control (the lower-left point) to adjust the X and Y position of the blur start point in the Canvas. Point 2: Sets the position of the end point of the gradient.
Prism Blurs and refracts the image as if seen through a prism, creating a rainbow effect. Original image Prism applied Parameters in the Inspector Amount: Sets the radius of the blur. Drag the arrow onscreen control inward and outward to adjust the amount (and angle) of the blur in the Canvas. Angle: Sets the angle of refraction. Drag the arrow onscreen control in an arc to adjust the angle of the blur in the Canvas. Crop: Sets whether the object is cropped at its original boundaries.
Radial Blur Creates a rotational blur centered on a point. The effect is similar to the motion blur you would see if an image were spinning quickly. Original image Radial Blur applied Parameters in the Inspector Center: Sets the position of the center of the radial blur. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of rotation of the blur. Crop: Sets whether the object is cropped at its original boundaries.
Soft Focus Creates an effect similar to duplicating an object, applying the Screen blend mode to composite the object against itself, then blurring an overlapping object—within a single filter. The Strength parameter controls how much of the blurred image is added back to the original image. Original image Soft Focus applied Parameters in the Inspector Amount: Sets the radius of the blur. Strength: Sets the amount of opacity of the blurred composite.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Variable Blur (outside of circle) Parameters in the Inspector Center: Sets the position of the center of the circle. Drag the center onscreen control to adjust its value in the Canvas. Amount: Sets the percentage of the blur. Inner Radius: Sets the inner radius of the circle. Outer Radius: Sets the outer radius of the circle.
Zoom Blur Creates a blur that simulates a fast camera zoom-in to a point. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Zoom Blur applied Parameters in the Inspector Look: Sets the type of blur operation. This pop-up menu has two options: • Variable: The blur increases toward the edges of the image. This option is faster when using high blur values. • Uniform: The blur is consistent from the center of the image outward.
Bevel Creates a bevelled border around the edges of an image by superimposing an angled frame over the original image. The simulated direction of reflected light and opacity of the bevel can be adjusted to vary the effect. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Bevel applied Parameters in the Inspector Light Angle: Sets the angle at which the light hits the bevel.
Simple Border Creates a solid color border of variable width around the edges of an image. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Border applied Parameters in the Inspector Width: Sets the thickness of the border. Color: Picks the color of the border. The color controls can be expanded with the disclosure triangle to include Red, Green, Blue, and Opacity sliders to more precisely select the color of the border.
Note: Because the Widescreen filter masks the object it is applied to, the object is not cropped and retains its original shape. Original image Widescreen applied Parameters in the Inspector Aspect Ratio: Sets the aspect ratio of the mask. Values include 1.66:1, 1.70:1, 1.78:1, 1.85:1, 2.35:1, 2.55:1, and 3.00:1. Offset: Sets the position of the mask relative to the Y center of the object. Values range from –1.0 (the bottom of the object) to 0 (the center of the object) to 1.0 (the top of the object).
Although this may seem to be the first filter to use to correct for improper exposure in an image, Brightness boosts or lowers everything in an image at once. This means that raising the brightness in an image raises brightness everywhere, including in the shadows. Consequently, a brightened image can look washed out. However, this filter is useful for modifying the edges and effects of shapes, masks, particle systems, and generators. A better filter for exposure correction is the Gamma filter.
Red - Green: Sets the amount of input green added to the output red. The default value is 0, which leaves the red channel unmodified. As this value increases, the output value of red increases by the amount of input green multiplied by the value of Red - Green. Red - Blue: Sets the amount of input blue added to the output red. The default value is 0, which leaves the red channel unmodified.
Alpha - Green: Sets the amount of input green added to the output alpha. The default value is 0, which leaves the alpha channel unmodified. As this value increases, the output value of pixels with nontransparent alpha increases by the amount of input green multiplied by the value of Alpha - Green. Alpha - Blue: Sets the amount of input blue added to the output alpha. The default value is 0, which leaves the alpha channel unmodified.
Color Balance Color balance refers to the relative strength of the red, green, and blue channels that constitute an image. For example, a blue-tinted image has a strong blue channel and weaker green and red channels. The Color Balance filter lets you adjust the relative balance of all three color channels of an image at once—for example, lowering the blue channel and raising the red and green channels to reduce blue tinting and yield an image that appears more orange and warm.
• To stylize the color of an image used in a creative composition—for example, creating a high-contrast, blue-tinted silhouette from the image of two actors dancing for a title sequence. The Color Balance filter doesn’t just let you rebalance the overall strength of an image’s three color channels, it also lets you rebalance color specifically in three tonal zones of an image: shadows, midtones, and highlight.
The adjustments to shadows, midtones, and highlights of an image overlap widely. For example, adjustments to shadows affect the darkest parts of the image the most, but the effect also influences midtones and lower highlights. This overlap ensures that adjustments you make blend seamlessly with the original colors of the image. For a practical example of using the Color Balance filter, see Matching Two Composited Layers Using the Color Balance Filter.
Clip Color Values: Turns clipping on and off. Clipping prevents color adjustments from forcing color values out of the allowable digital range. Clipping can prevent illegal signal levels in clips that are output to video. This pop-up menu has four options: • None: No clipping occurs. • At White: Any color channel exceeding the maximum value of 1 is clipped to 1. • At Black: Any color channel falling below the minimum value of 0 is clipped to 0.
Although the key is successful, the light illuminating the woman doesn’t quite match the light that illuminates the background. You can fix this using the Color Balance filter. To match a foreground subject to a background image using the Color Balance filter 1 Open the Library, click the Filters category, then click the Color Correction category to reveal the color correction filters in the stack.
5 When the OS X Colors window appears, drag from the center of the color wheel toward orange, which is the predominant color of the background layer’s lighting. As you drag in the color wheel, the color of highlights in the Canvas changes, with the color in the brightest highlights of the foreground image changing the most. Midtones are less affected, and shadows aren’t affected at all.
Color Reduce Reduces the full range of color in an image to two, three, or four colors that you select. Depending on the number of substitute colors you choose in the Reduce To parameter, this filter breaks down the full range of colors in the image into a color range for each Match Color parameter that’s available. The filter then substitutes the selected Replace With color for each interpreted range of color.
Replace With: Picks the color that is substituted for the selection determined by Color 4. This parameter is used only if Reduce To is set to 4 Colors. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Smoothness, Reduce To, Match Color 1, Replace With, Match Color 2, Replace With, Match Color 3, Replace With, Match Color 4, and Replace With.
Contrast Adjusts the difference between the lightest and darkest parts of an image. Original image Contrast filter applied Parameters in the Inspector Contrast: Sets the amount of contrast to be applied to the object. Pivot: Sets the point around which the contrast is adjusted. The point of contrast adjustment is the level that is displayed if Contrast is set to 0. Clip Color Values: Turns clipping on and off.
This is one of the most useful filters for correcting poor exposure in images, and should almost always be used first before trying the Brightness filter. Original image Gamma filter applied Tip: When opening projects created in earlier versions of Motion, previous gamma adjustments may be lost. Use the Gamma filter to reproduce the effect. Parameters in the Inspector Gamma: Sets the gamma correction. Mix: Sets the percentage of the original image to be blended with the color-corrected image.
For more information on using the Gradient editor, see Using the Gradient Editor. Offset: Sets an amount, in degrees, that the color wheel is offset to determine color application. Values start at 0 degrees. Repeats: Sets the number of times the gradient repeats over the course of its range. Repeat Method: Sets the method by which the gradient is mapped when repeating. Values can be set to Mirror (default) or Wrap. This parameter affects the filter when Repeats is set to a number greater than 1.
Saturation: Sets the color saturation of the object, ranging from –1.0 (no color information) to 0.0 (unadjusted color) to 3.0. Value: Sets the intensity adjustment applied to the object. Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls The HUD contains the following controls: Hue, Saturation, and Value. Levels Provides controls to remap the white and black points of an image, with a Gamma control to adjust midtones, all at once.
Negative Inverts color and brightness in an image. This filter can be used to turn a scanned negative image into a positive. Original image Image inverted Parameters in the Inspector Mix: Sets the percentage of the original image to be blended with the color-corrected image. HUD Controls None. OpenEXR Tone Map Applies tone mapping to an OpenEXR image, reducing the dynamic range of the image so that it can be viewed on your monitor.
Defog: Attempts to remove “fog” in an image. While recording, stray light in the camera may cause fogging of your image, creating unwanted light. Knee Low: Sets the low end of the white and middle gray values displayed in the image. Values between Knee Low and Knee High are compressed, allowing you to display a wider range of pixel values without clipping. Knee High: Sets the high end of the white and middle gray values displayed in the image.
Threshold Reduces all colors in an image to a duotone, and optionally limits the range of midtones preserved in the image. The result is an extremely high-contrast image that defaults to black and white—but you can reduce the image to any two colors. Original image Threshold filter applied Parameters in the Inspector Threshold: Sets the threshold of selection for color substitution. The threshold determines what is considered light and what is considered dark in the object.
Tint Tints an image with a single color. Shadows and highlights are less affected, but all midrange colors in the image are gradually replaced with the tint color as the Intensity parameter is increased. Original image Tint (brown) applied Parameters in the Inspector Color: Picks the color used to tint the object. The color controls can be expanded with the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection.
HUD Controls The HUD contains the following controls: Y, I, and Q. YUV Adjust Allows color adjustment in YUV (Y′CBCR) color space. The YUV color space definition is used to describe NTSC and PAL broadcast signals. Parameters in the Inspector Y: Sets the intensity of the Y color channel. (Y represents the luma/brightness information.) U: Sets the phase of the U color channel. (U represents the chroma/color information.) V: Sets the phase of the V color channel. (V represents the chroma/color information.
Parameters in the Inspector Center: Sets the position of the center of the black hole. Drag the Center onscreen control to adjust its value in the Canvas. Amount: Sets the amount of force pulling on your object. Values range from 0 (no gravity) to 1000 (the entire object is pulled into the black hole). Note: Black Hole may fail to completely pull large images into its gaping maw. Mix: Sets the percentage of the original image to be blended with the distorted image.
HUD Controls The HUD contains the following controls: Amount and Scale. Bump Map Uses a source object to define a bump pattern that can be used to deform an object, with parameters to control the amount of displacement. You can use any image, movie, or shape as the source object. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization.
HUD Controls The HUD contains the following controls: Map Image, Direction, and Amount. Disc Warp Stretches the image outward around a circular region. As the radius of the warping region increases, the image is warped outward with a greater amount of distortion. The color of the resulting disk is determined by the color value of the pixel where the center is placed. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Droplet applied Parameters in the Inspector Center: Sets the position of the center of the droplet effect. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of the droplet effect. Drag the inner circle of the onscreen controls to adjust the Radius value in the Canvas.
Earthquake Creates an animated displacement effect on an object, adjusting its position as if shaken by an earthquake. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Earthquake applied with three layers Parameters in the Inspector Twist: Sets the amount the object is rotated as it is displaced. Horizontal Shake: Sets the maximum amount the image is displaced horizontally.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Fisheye applied Parameters in the Inspector Radius: Sets the radius of the fisheye lens effect. Amount: Sets the amount and nature of the distortion. Lower values create concave distortion; higher values create convex distortion. Center: Sets the position of the center of the fisheye effect. Drag the Center onscreen control to adjust its value in the Canvas.
Parameters in the Inspector Flop: Sets the direction in which the object is flopped (Horizontal, Vertical, or Both). Mix: Sets the percentage of the original image to be blended with the flopped image. HUD Controls The HUD contains the following control: Flop. Fun House Simulates the distortion caused by an imperfectly shaped mirror, similar to those in a carnival fun house. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Glass Block applied Parameters in the Inspector Center: Sets the position of the origin of the glass block effect. Drag the Center onscreen control to adjust its value in the Canvas. Scale: Sets the scale of the portions of the duplicated parts. Angle: Sets the angle of offset used to sample the duplicated parts. Tile Size: Sets the size of the glass blocks.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Glass Distortion (diamond image) applied Parameters in the Inspector Center: Sets the position of the center of the tiling of the glass distortion. Drag the Center onscreen control to adjust its value in the Canvas. Distort Input: Displays a thumbnail of the image map chosen. To learn how to add an object to the Distort Input well, see Source Well.
Insect Eye Maps a repeating hexagonal distortion pattern to an image, mimicking the POV of an insect. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Insect Eye applied Parameters in the Inspector Size: Sets the size of the hexagons, in pixels. Refraction: Sets the amount of distortion present in each hex. Border Size: Sets the width, in pixels, of the border of each hex.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Mirror filter applied Parameters in the Inspector Center: Sets the position of the center of the mirror. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the mirror’s orientation. Repeat Border Pixels: Sets the edge pixels to repeat to fill in the remainder of the shape when the Center and/or Angle parameters are offset from the center.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Page Curl filter applied Parameters in the Inspector Direction: Sets the animation of the page curl to Open or Close. Angle: Defines the angle of the page turn. Alternatively, use the Angle onscreen control (the small circle between the center circle and arrow) with the Rotate control (the arrow) to set the direction of the page turn.
Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following controls: Direction, Angle, Rotation, Radius, Fade Out, Shadow, Highlight Color, Back Color, Animate, and Percent. Poke Distorts an image by bowing the top, bottom, and sides inward, and appears to push the object into the Canvas at the specified Center point.
Polar Converts images from rectangular coordinates to polar coordinates, and vice versa. Original image Polar applied Tip: This filter works well with objects containing horizontal or vertical lines, such as the Stripes or Checkerboard generators. A similar effect can be created with any image by adding the Line Screen or other related filters. Parameters in the Inspector Center: Sets the center point of the distortion from Polar to Rectangular or Rectangular to Polar.
Mix: Sets the percentage of the original image to be blended with the distorted image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls The HUD contains the following control: Polar to Rect. Refraction Creates a glass-distortion effect on an image, with an optional height map. This filter causes rasterization in 3D groups.
Ring Lens Creates a ring of distortion over the image, creating a donut-like bulge. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Ring Lens applied Parameters in the Inspector Center: Sets the position of the center of the lens. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of the ring. Drag the inner circle of the onscreen controls to adjust the Radius value in the Canvas.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Ripple applied Parameters in the Inspector Center: Sets the position of the origin of the effect. Drag the Center onscreen control to adjust its value in the Canvas. Amplitude: Sets the width of the waves. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the distorted image.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Scrape applied Parameters in the Inspector Center: Sets the position of the center of the scrape. Drag the Center onscreen control to adjust its value in the Canvas. Rotation: Sets the angle of rotation of the scrape. Drag the outer handle of the onscreen control to adjust the Rotation value in the Canvas.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Sphere filter applied Parameters in the Inspector Center: Sets the position of the center of the sphere. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of the sphere. Crop: Sets whether the object is cropped at its original boundaries. Mix: Sets the percentage of the original image to be blended with the distorted image.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Starburst applied Parameters in the Inspector Center: Sets the position of the center of the starburst. Drag the Center onscreen control to adjust its value in the Canvas. Radius: Sets the radius of pixel sampling for ray color determination. Mix: Sets the percentage at which the original image is blended with the distorted image.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Stripes applied Parameters in the Inspector Center: Sets the position of the center of the stripe effect. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the stripes. Drag the outer handle of the onscreen control to adjust the Angle value in the Canvas. Offset: Sets the angle of pixel sampling used for sampling pixel color values.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Target applied Parameters in the Inspector Center: Sets the position of the center of the target. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the line used to select pixels for the bands of circles in the target. Drag the outer handle of the onscreen control to adjust the Angle value in the Canvas.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Twirl filter applied Parameters in the Inspector Amount: Sets the radius of the twirl. Larger values affect more of the image. Values range from 0 (none of the image is affected) to 1.00 (largest amount of the image is affected). Drag the outer circle of the onscreen controls to adjust the amount in the Canvas. Twirl: Sets the amount of twist.
Underwater Applies an animated distortion to an image, simulating a view through water. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Underwater filter applied Parameters in the Inspector Size: Sets the size of the ripples in the water. The smaller the number, the more ripples there are in the water simulation. Speed: Sets the speed at which the distortion is animated. Refraction: Sets the amount that the image is distorted.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Wave filter applied Parameters in the Inspector Amplitude: Sets the amplitude of the waves. Wavelength: Sets the length of the waves. Offset: Sets the offset of the wave. Vertical: Sets whether the waves run vertically or horizontally. Repeat Edges: Sets whether the edges of the object are repeated.
Aura Adds highly stylized light or dark halos around well-defined areas of an image. The resulting glow appears solarized, and the underlying image creates outlines that show through the glow effect. Original image Aura applied Parameters in the Inspector Inner Radius: Sets the amount the aura extends inward from its point of origin. Outer Radius: Sets the amount the aura extends outward from its point of origin. Brightness: Sets the brightness of the aura.
Parameters in the Inspector Amount: Sets the amount of the bloom. Brightness: Sets the brightness of the bloom. Threshold: Sets the luminance threshold at which the bloom starts. Horizontal: Sets the distance of horizontal bloom. Vertical: Sets the distance of vertical bloom. Crop: Sets whether the bloom is cropped at the original boundaries of the object. Mix: Sets the percentage of the original image to be blended with the filtered image.
Gloom Creates a muted, dark glow. The image is darkened, and areas of detail are evened out into larger regions of color. It’s spooky. Original image Gloom applied Parameters in the Inspector Radius: Sets the radius of the gloom. Amount: Sets the amount of gloom. Values range from 0 (no gloom) to 2 (maximum gloominess). Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Radius and Amount.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Light Rays applied Parameters in the Inspector Amount: Sets the amount of the light ray effect. Larger values extend the length of the rays. Center: Sets the position of the center point of the light source. Drag the center onscreen control to adjust its value in the Canvas. Glow: Sets the brightness multiplier of the light rays.
Outer Glow Adds a glow to the alpha channel of an image. The result is a glow around the outside of the image that leaves the interior unaffected. Original image Outer Glow filter applied Parameters in the Inspector Radius: Sets the size of the glow. Brightness: Sets the brightness of the glow. Inner Color: Picks the inner color of the glow. Use the disclosure triangle to display Red, Green, and Blue sliders for more precise color selection. Outer Color: Picks the outer color of the glow.
Overdrive Creates an animated glow effect by compositing numerous glowing tinted duplicates of the original image. Fine detail is lost, and the highlights of the image are emphasized. You can customize the inner glow and outer glow colors. Original image Overdrive applied Parameters in the Inspector Intensity: Sets the number of samples. Size: Sets the radius of the effect. Rotation: Sets the angle of rotation of the collected offsets. Inner Glow: Picks the color of the inner part of the glow.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Sharpen filter applied Parameters in the Inspector Intensity: Sets the radius for the effect. Amount: Adjusts the contrast for the sharpening. Mix: Sets the percentage of the original image to be blended with the sharpened image. HUD Controls The HUD contains the following controls: Intensity and Amount.
Threshold: Sets the threshold of luminance difference to be considered as a high contrast range, between 0 and 1. Horizontal: Sets the horizontal width of the unsharp mask. Vertical: Sets the vertical scale of the unsharp mask. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Radius, Amount, and Threshold.
HUD Controls The HUD contains the following controls: Amount, Type, Monochrome, Blend Mode, Autoanimate, and Random Seed. Bad Film Simulates old or damaged film and/or playback equipment. This filter is animated. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Parameters in the Inspector Focus Amount: Sets the amount of blur applied to the image, simulating a projector lens going in and out of focus.
Dust: Simulates dust or dirt on film. The higher the value, the more dirt. Tip: Hair, dust, and scratches occur with random variance and may not appear on every frame. If you don’t see any effect while adjusting these sliders, play the clip and observe the effect over the duration of the shot. Jitter Amount: Simulates the look of a film projector that has a problem with its gate, reminding you of high school, if you are old.
Bad TV Simulates poor analog television reception, adding attributes like exaggerated video field scan lines, static and roll. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Bad TV applied Parameters in the Inspector Waviness: Sets the amount of horizontal offset applied to video fields. Roll: Sets the amount of vertical offset applied to the image.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Circle Screen applied Parameters in the Inspector Center: Sets the position of the center of the circle screen. Drag the Center onscreen control to adjust its value in the Canvas. Scale: Sets the scale of the circle screen. Contrast: Sets the contrast level. Mix: Sets the percentage of the original image to be blended with the filtered image.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Circles applied Parameters in the Inspector Size: Sets the size of the facets. Falloff: Sets the amount of alpha blending done at the edges of each facet. Invert: Sets whether the facets are elliptical or tiles with elliptical cut-outs. Mix: Sets the percentage of the original image to be blended with the filtered image.
Relief: Sets the amount of the offset. Crop: Sets whether the image is cropped beyond its original borders. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Direction, Relief, and Crop. Crystallize Simulates the effect of viewing an image through a pane of glass with irregular facets patterned into it. These mosaic-like facets give an image a crystallized appearance.
Edges Creates an edge-detection effect by examining the luminance of an image to render high contrast borders between regions of brightness. These edges are then traced, and all other detail is replaced by black. The amount of eliminated detail depends on the value of the Intensity parameter. The colors of the resulting highlights are intensified variants of the colors from the original image. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Extrude applied Parameters in the Inspector Angle: Sets the angle at which the object is extruded. Drag the onscreen control to adjust its value in the Canvas. Distance: Sets the distance the object is extruded. Drag the onscreen control to adjust its value in the Canvas. Clipping: Sets the distance at which the extrusion is clipped.
Halftone Reduces an image to a black and white version of itself, simulating the halftone screening method for print, in which the shadows and highlights of an image are recreated using patterns of small and large dots. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Halftone applied Parameters in the Inspector Center: Sets the position of the center of the halftone dots.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Hatched Screen applied Parameters in the Inspector Center: Sets the position of the center of the hatched screen. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the hatched screen. Scale: Sets the scale of the hatched screen. Skew: Sets the amount of skew of the hatched screen. Stretch: Sets the amount of stretch of the hatched screen.
Highpass Emphasizes areas of detail in an image and stylizes the colors in the resulting image to create a psychedelic display. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Highpass applied Parameters in the Inspector Radius: Sets the amount of variance of detail to consider. Values range from 0 (entire range of color) to 100 (only the most detailed portions). Amount: Sets the amount of emphasis.
Parameters in the Inspector Softness: Sets the softness of the transition between flat and raised areas. Brightness: Sets the level of brightness of the object. Ambient: Sets the amount of ambient light hitting the object. Highlight Brightness: Sets the amount of brightness applied to highlights of the object. Highlight Sharpness: Sets the degree of sharpness applied to highlights of the object. Light Rotation: Sets the angle, in degrees, at which the ambient light hits the object.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Line Art applied Parameters in the Inspector Threshold: Sets the threshold of edge detection. Smoothness: Sets the level of smoothness of transition between the lines and the background. Paper Color: Sets the color of the paper. The color controls can be expanded with the disclosure triangle to reveal Red, Green, and Blue sliders to more precisely select the color.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Line Screen applied Parameters in the Inspector Center: Sets the position of the center of the line screen. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of the line screen. Scale: Sets the scale of the line screen. Skew: Sets the amount of skew of the line screen. Stretch: Sets the amount that the line screen is stretched.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image MinMax dilating dark areas Parameters in the Inspector Mode: Sets the mode of the effect. The following modes are available: Minimum and Maximum. Radius: Sets the radius of the effect. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Mode and Radius.
Random Seed: Sets a number to be used as a seed for noise placement. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Dissolve Amount and Random Seed. Pixellate Turns an image into a mosaic of blocks using colors taken from an object. The scale of the blocks can be increased or decreased. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization.
Posterize Reduces the number of colors in an image to a set number per color channel, adjustable using the Levels parameter. Original image Posterize applied Parameters in the Inspector Levels: Sets the number of levels of posterization. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following control: Levels.
Parameters in the Inspector Front: Sets the position of the center point of the front of the height map, determining the direction to which the height vertices are projected. Values are coordinates. Drag the inner or outer onscreen controls to adjust this value. Front Size: Sets the size of the front object, as a proportion of its original size. Back: Sets the position of the center point of the back of the height map, determining the direction from which height vertices are projected.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Slit Scan applied Parameters in the Inspector Center: Sets the position of the center of the slit. Drag the Center onscreen control to adjust its value in the Canvas. Rotation: Sets the angle of rotation of the slit. Speed: Sets the speed of the simulation. Perspective: Sets the angle of perspective on the object. Glow: Sets the amount of the glow on the slit.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Slit Tunnel filter applied Parameters in the Inspector Center: Sets the position of the center of the tunnel. Drag the Center onscreen control to adjust its value in the Canvas. Rotation: Sets the angle of rotation of the object during movement. Speed: Sets the speed of the simulation. Perspective: Sets the angle of perspective on the object.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Texture Screen filter applied, circle image Parameters in the Inspector Map Image: Displays a thumbnail of the map chosen to generate the screen. To learn how to add an object to the Map Image well, see Source Well. Center: Sets the position of the center of the texture screen. Drag the Center onscreen control to adjust its value in the Canvas.
Vignette Simulates the light fall-off and corner-blurring effect characteristic of images viewed through some camera lenses. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Vignette applied Parameters in the Inspector Size: Sets the size of the vignette. The larger the size, the more area of the object is affected by the vignette. Drag the inner ring of the onscreen control to adjust this value.
Wavy Screen Reduces an image to a high-contrast grayscale version of itself, then screens the resulting image using a pattern of angled lines, simulating an etched screening technique. The image is represented by varying thicknesses in the pattern of the zigzagging lines. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Wavy Screen applied Parameters in the Inspector Amplitude: Sets the amplitude of the waves.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Kaleidoscope applied Parameters in the Inspector Center: Sets the position of the center of the kaleidoscope. Drag the Center onscreen control to adjust its value in the Canvas. Segment Angle: Sets the angle at the tip of each triangular tile. Drag the outer handle of the onscreen control to adjust this value. Offset Angle: Sets the rotation of the whole kaleidoscope.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Kaleidotile applied Parameters in the Inspector Center: Sets the origin of the kaleidotile effect. Drag in the center of the onscreen control (the box) to adjust this value in the Canvas. Width: Sets the width of the panels of the kaleidotile effect. Drag the right or left center handle of the onscreen control to adjust this value.
Offset Treats an object as a tile, offsetting its horizontal and vertical origins but displaying the entire object. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Offset applied, mix at 50% Parameters in the Inspector Horizontal Offset: Sets the horizontal offset of the object. Vertical Offset: Sets the vertical offset of the object. Mix: Sets the percentage of the original image to be blended with the filtered image.
Parameters in the Inspector Center: Sets the position of the origin of the parallelogram tiles. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of rotation of the panels. Acute Angle: Sets the acute angle at which the parallelogram sides meet. Tile Size: Sets the size of the panels. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X.
Note: Drag the onscreen control handles to adjust the Top Left, Top Right, Bottom Right, and Bottom Left values. Mix: Sets the percentage of the original image to be blended with the filtered image. Publish OSC: Publishes the filter’s onscreen controls in Final Cut Pro X. For more information on creating content for use in Final Cut Pro, see Creating Templates for Final Cut Pro X. HUD Controls None. Random Tile Tiles an image in an irregular pattern with circular panels.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Tile applied Parameters in the Inspector Center: Sets the position of the origin of the tiles. Drag the Center onscreen control to adjust its value in the Canvas. Skew: Sets the amount of skew applied to tiles. Scale: Sets how much tiles are scaled. Stretch: Sets the amount tiles are stretched vertically. Angle: Sets the angle of rotation of tiles.
This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Original image Triangle Tile applied Parameters in the Inspector Center: Sets the origin of the tile. Drag the Center onscreen control to adjust its value in the Canvas. Angle: Sets the angle of rotation of the triangles. Tile Size: Sets the size of the triangles. Mix: Sets the percentage of the original image to be blended with the filtered image.
Number: Sets the number of echoes. Decay: Sets the amount of time it takes for an echo to decay. Amount: Sets the relative opacity of each echo. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Delay, Number, Decay, and Amount. Scrub Moves a virtual playhead around a clip, allowing you to change the timing of the clip without moving it in the Timeline.
Trails Draws light or dark trails following an object’s movement. This filter is only effective with moving images. This filter causes rasterization in 3D groups. For more information on rasterization, see About Rasterization. Parameters in the Inspector Duration: Sets the duration of trails. Echoes: Sets the number of echoes trailing behind. Decay: Sets whether trails decay over time or disappear at the end of the duration. Trail On: Sets the value type that triggers trails.
Parameters in the Inspector Video Type: Sets the rule set to be used for filtering image data. Value can be NTSC or PAL. Fix Method: Sets the type of fix to be made to the image: Luminance or Reduce Saturation. Mix: Sets the percentage of the original image to be blended with the filtered image. HUD Controls The HUD contains the following controls: Video Type and Fix Method. Deinterlace Deinterlaces an interlaced object using one of several possible methods. This filter causes rasterization in 3D groups.
Using Shapes, Masks, and Paint Strokes 20 Motion has a flexible tool set that you can use to create simple shapes, complex illustrations, and paint effects right in your project. The same techniques you use for drawing can also be used to mask layers to produce a wide variety of transparency effects, to crop out parts of still images, and to rotoscope moving subjects. This chapter covers the following: • About Shapes, Masks, and Paint Strokes (p.
• Manipulating Alpha Channels Using Filters (p. 1226) About Shapes, Masks, and Paint Strokes Shapes and masks are vector-based objects drawn and edited using control points that define mathematical curves. Each control point in a shape defines some sort of corner or curve, and the actual spline that makes up the shape connects these control points together like a connect-the-dots drawing. You can edit or animate any shape by moving and editing its control points or by applying a Shape behavior.
The Difference Between Shapes, Paint Strokes, and Masks Shapes are primarily used to create all kinds of visual elements. They work like any other layer, except that they are created in Motion and are stored in your project file. A single shape can be used as a background or colored graphic in a composition, or you can create complex illustrations using many shapes. Each illustration below is composed of shapes created in Motion.
Masks are used to create regions of transparency in layers. Although shapes work as layers by themselves, masks must be assigned to a layer to have an effect. For example, if you have a picture in which you want to isolate the foreground subject, you can create a mask to cut out the background. Original layer Mask Masked layer You can animate shapes, masks, and paint strokes using behaviors and keyframes. Shapes also have their own special category of behaviors.
Bezier splines are good for drawing shapes for illustration. The controls used to manipulate Bezier splines are similar to those found in many other drawing and compositing applications, so they may be familiar to you. Bezier controls lend themselves to the creation of precise, detailed shapes. Tangent handles adjust the curvature of the shape on either side of the control point, and this defines the surface of the shape.
Drawing Masks and Shapes Using Bezier Splines This section describes how to draw a Bezier shape from scratch. These methods are identical whether you use the shape or masking tools. This section focuses on drawing shapes. For more information on drawing masks, see Using Masks to Create Transparency. To draw a Bezier shape 1 Choose the Bezier tool from the pop-up menu in the toolbar (or press B). Note: The Bezier Mask tool is located in the mask tools pop-up menu in the toolbar.
• Click, then drag to make a curved Bezier point, adjusting it to the shape you want. Note: Press Shift while making a curved point to constrain its tangents to 45-degree angles. While you’re drawing a shape, you can also use any of the point-editing procedures described below to move and adjust existing control points before finishing the shape. You can adjust any control point except the first one you created, because clicking the first point closes the shape.
• Press Return to create the last point of an open shape. Note: Before a shape is closed, you can press Esc to cancel the entire operation, deleting the shape. Immediately after finishing a shape, the Shape HUD appears and the Edit Points tool is selected, which allows you to edit the shape you’ve just created. Drawing Masks and Shapes Using B-Splines This section describes how to draw a B-Spline shape.
The B-Spline Tool HUD appears. (If it does not appear, press F7.) To change the color of the shape before it is drawn, use the color controls in this HUD. Select the Outline checkbox to create an outline with the shape. The Width slider adjusts the width of the outline. After you create the shape, the Shape HUD appears. 2 Click in the Canvas to draw the first point. 3 Continue clicking to draw additional points to define the shape you need.
2 With the Edit Points tool selected, Command-drag a control point. A weight handle appears. 3 Drag the weight handle away from the control point to sharpen the path or towards the control point to smooth the path. Drawing Masks Using the Freehand Mask Tool This section describes how draw a freehand mask. Like the Paint Stroke tool, the Freehand Mask tool allows you to create a shape in one movement, rather than drawing the shape in a point-by-point fashion (like a Bezier or B-Spline shape).
3 Do one of the following: • If using a mouse, click in the Canvas, but don’t release the mouse button. • If using a tablet, touch the stylus on the tablet to begin drawing the mask in the Canvas. Continue drawing around the layer you are masking. To close the mask, finish the line at the mask’s starting point. A small circle appears when the pointer is over the starting point. Note: If you don’t close the mask at its starting point, the mask is closed when you release the mouse button.
• To change how the outline’s sharp corners are drawn, choose an item from the Joint pop-up menu. • To change the shape of an outline’s start and end caps, choose an item from the Start Cap or End Cap pop-up menu. • To change whether the outline appears over or under a shape’s fill, choose a command from the Order pop-up menu. • To change the outline from the default solid to an editable paint stroke, set Brush Type to Airbrush or Image. For more information, see Style Pane Controls in the Inspector.
• If the shape’s fill mode is set to a gradient, you can choose a gradient from the gradient preset pop-up menu, or click the Gradient parameter’s disclosure triangle to display the gradient editor and create your own custom gradient. For more information on using gradient editors, see Gradient Controls. To feather a shape 1 Select the shape to feather. 2 If the shape’s outline is visible, deselect the Outline checkbox in the Style pane of the Shape Inspector.
The Rectangle Tool HUD appears. To change the color or roundness of the shape before it is drawn, use the controls in the HUD. Select the Outline checkbox to create an outline with the shape. The Width slider adjusts the width of the outline. The Rectangle shape layer does not appear in the Layers list until the shape is drawn. Note: Outlines can be added and edited after a shape is drawn.
To make a circle 1 Choose the Circle tool from the shape tools pop-up menu in the toolbar (or press C). The Circle Tool HUD appears. To change the color of the shape before it is drawn, use the color controls in the HUD. Select the Outline checkbox to create an outline with the shape. The Width slider adjusts the width of the outline.
4 After you create the shape, press Esc to activate the Select/Transform tool. The Shape HUD appears. Note: Rectangles and circles can be converted into paint strokes by selecting the shape’s Outline checkbox and choosing a different brush type in the Inspector. For more information, see Using a Shape Outline as a Paint Stroke. Creating Paint Strokes Unlike a freehand Bezier or B-Spline shape drawn one point at a time, a paint stroke is typically created with one continuous movement.
Note: The stroke’s shape (defined by its control points) and open/closed state can be modified in the Canvas or Inspector. Because a stroke is a shape, it can be edited like any other shape, using the methods described in How to Edit Shapes. After you select the Paint Stroke tool in the toolbar and before drawing the stroke in the Canvas, you can define the color and other attributes of the stroke in the Paint Stroke Tool HUD. In the HUD, you select a preset shape style to use as your brush source.
Important: Like the other drawing tool HUDs, the Paint Stroke Tool HUD is available only after the Paint Stroke tool is selected and before you create your stroke in the Canvas. The Paint Stroke Tool HUD allows you to determine the properties derived from the pressure and speed of the stylus before the stroke is drawn. 2 Define a paint stroke style in the HUD: a Choose an option from the Shape Style preset pop-up menu. b Modify the Brush Color and Width settings.
2 Do one of the following: • Select any brush style in the Paint Stroke Tool HUD, then draw a stroke in the sketch area to see a preview of the paint stroke. • Select the Write On checkbox, draw a stroke in the sketch area, then click the Play button to see a preview of the write-on stroke. • Apply a preset from the Shape Style pop-up menu to an existing stroke in the sketch area. If the preset is an animated stroke, the stroke is automatically drawn in the sketch area.
• Spacing: The harder the pen pressure, the greater the spacing between stroke dabs. To adjust the spacing of the dabs after the stroke is created, use the spacing controls in the Style or Stroke pane. • Angle: The harder the pen pressure, the greater the angle of the stroke dabs. To adjust the angle of the dabs after the stroke is created, use the angle controls in the Stroke pane. • Jitter: The harder the pen pressure, the larger the amount of jitter on the stroke.
Smoothing: Select this checkbox to create a smoother stroke with fewer control points. Paint strokes drawn with smoothing on are created as bezier shapes. Paint strokes drawn with smoothing off are created as linear shapes. Shape Style: A pop-up menu that allows you to apply a preset shape style (from the Library) to the selected shape. You can also save any custom shape style to the Library using this pop-up menu. Any stroke (shape) presets you have saved to the Library also appear in this list.
When active, a check mark appears next to the menu item. 3 Select the shape to edit, then choose the Edit Points tool from the 2D transform tools pop-up menu in the toolbar. Note: In the Canvas, you can also Control-click a shape and choose Edit Points from the shortcut menu. 4 In the Canvas, drag a control point. Yellow guides appear when the selected control point aligns with itself or with the edges or center of other objects.
3 Select the shape to edit, then choose the Edit Points tool from the 2D tools pop-up menu in the toolbar. Note: In the Canvas, you can also double-click a shape or Control-click a shape and choose Edit Points from the shortcut menu to show its control points. 4 Shift-click to select another shape. 5 In the Canvas, drag a control point on the originally selected shape.
When you move, resize, or rotate, a shape, you also transform its control points to match the new orientation of the shape. For more information about how to perform object transformations, see 2D Transform Tools. Displaying a Shape’s Control Points There are several ways to display the control points of a shape to allow point-by-point editing in the Canvas.
While editing the control points of a shape, you can select another shape and remain in control point-adjustment mode. This allows for quick modification of multiple shapes’ control points. Selecting and Deselecting Control Points on a Shape The following tasks describe how to select and deselect control points in the Canvas. For all these procedures, use the Edit Points tool (in the 2D tools pop-up menu). To select control points Do one of the following: µ µ Click any control point.
To deselect every control point on a shape Do one of the following: µ µ µ Click the Canvas anywhere outside the selected shape. Choose Edit > Deselect All (or press Command-Shift-A). To select a specific control point (based on the order the shape is drawn) Enable Show Tool Info in the View pop-up menu, then position the pointer over any control point to display its control point number. Note: All shape control points are also listed by number in the Geometry pane of the Shape Inspector.
Important: Selected control points can only be moved—you cannot corner-pin them. To rotate or scale them, you must use the Transform Control Points command. See Transforming Multiple Control Points. Modifying Shape Edges You can also select the line between two points and move the edge of the shape without affecting the rest of the shape. To move a shape edge 1 With the Edit Points tool active, click any edge of a shape object. The control points on either side of the line are selected.
Note: Transform Control Points is only available when at least two points on the same spline are selected. 3 Scale, rotate, offset the anchor point, and reposition the group of points as if they were a single object. 4 Click anywhere outside the selection, or switch to a different tool to release the selection. Adding and Deleting Control Points If you did not create enough control points to make the shape you need, you can add more to the existing shape. You can also extend or close an open shape.
To create an open shape from a closed shape Do one of the following: µ Control-click a point on the shape, then choose Open Curve from the shortcut menu. The segment before the point (in a clockwise order) is removed from the shape. This action causes the selected point to become Control Point 1 and the remaining points to be renamed accordingly. If the originally closed shape was filled, the Fill checkbox remains selected.
Locking Control Points You can lock control points in a shape to fix them in place and prevent accidental modification. A shape with locked points can still be moved. To lock and unlock points 1 Choose the Edit Points tool, then select a shape. 2 Control-click a control point, then choose Lock Point from the shortcut menu. If the point was unlocked, it becomes locked. If the point was locked, Unlock Point appears in the shortcut menu, and the point becomes unlocked.
µ Control-click selected points, then choose Linear, Smooth, or Very Smooth (for B-Splines) from the shortcut menu to change the control point type. Curved Bezier control points have two tangent handles that you use to adjust the curvature of the shape on either side of the control point. These handles can be adjusted in various ways to create symmetrical and asymmetrical curves.
µ Option-drag either tangent to break the relationship between opposing tangents. After this relationship is broken, adjustments to one tangent have no effect on the other, and both tangents can be rotated freely. µ Control-click a handle control point, then choose Break Handle from the shortcut menu to break the relationship between opposing handles.
To simultaneously modify the handles for more than one control point, Shift-select the points (on the same spline) and then adjust the tangents. Important: If Record (automatic keyframing) is enabled, curve adjustments are keyframed, creating animated shape changes. Additionally, if a keyframe has been added to the Control Points parameter in the Geometry pane of the Shape Inspector, curve adjustments are keyframed, regardless of the Record button state.
Each B-Spline control point tugs on a section of the shape, pulling it toward itself. As a result, you manipulate a shape’s curve by moving its control points in the direction you want to pull the shape. For example, notice how every control point creating the S curve below is offset in the direction of the curve it influences. Note: You can show and hide the B-Spline frame lines that enclose B-Spline control points by choosing View > Overlays > Lines. By default, B-Spline shapes have no corners.
• Dragging toward the point makes the curve progressively looser. Very smooth B-Spline point Smooth B-Spline point Linear B-Spline point Note: After the handle appears, you can modify the curve without the Command key. Drag the handle away from the point to make the curve sharper. Drag the handle toward the point to make the curve looser. µ After creating handle by Command-dragging a B-Spline point, Command-click the handle to switch between three progressively sharper amounts of curvature.
3 If you don’t want the shape filled, deselect the Fill checkbox in the Shape HUD or Style pane of the Shape Inspector. Note: Solid must be chosen from the Brush Type pop-up menu in the Style pane of the Shape Inspector for the shape fill options to remain available. After Fill is deselected, the shape icon in the Layers list becomes a paint stroke icon. Paint stroke icon 4 In the Style pane of the Shape Inspector, choose Airbrush from the Brush Type pop-up menu.
For a complete description of these parameters, see Style Pane Controls in the Inspector, Stroke Pane Controls in the Inspector, and Advanced Pane Controls In the Inspector. In the example below, the Additive Blend parameter is enabled in the Style pane. Additionally, the Color Over Stroke, Spacing Over Stroke, Width Over Stroke, Brush Scale, and Brush Scale Randomness parameters are modified in the Stroke pane.
Note: For more information on saving shape styles to the Library, see Saving Shapes and Shape Styles. Shape Parameters The Shape Inspector appears when you select a shape in the Canvas, Layers list, or Timeline. This Inspector contains the Style, Stroke, Advanced, and Geometry panes. These panes contain parameters that let you further customize the shape.
• Gradient: When this command is selected, the Gradient editor appears, as well as the Gradient preset pop-up menu. The Gradient preset pop-up menu allows you to apply a preset gradient (from the Gradients category in the Library) to the selected shape. In addition to the preset gradients, any custom gradients you have saved to the Library also appear in this list.
Outline: When this checkbox is selected, the shape outline appears in the Canvas and the outline controls become available. By default, this checkbox is deselected for closed shapes and is selected for open shapes and paint strokes. When you select the Outline checkbox, the Brush Type, Brush Color, Brush Opacity, Width, First and Last Point Offsets, Order, and other controls become available. • Brush Type: This pop-up menu lets you choose a Solid, Airbrush, or Image brush to create the outline.
• Brush Color: Lets you pick a color to use for the outline or paint dabs. These color controls are identical to the shape Fill Color controls (and all color controls throughout Motion). Note: When Stroke Color Mode (in the Stroke pane) is set to Color Over Stroke or Pick From Color Range, Brush Color is not available. • Brush Opacity: Defines the opacity of the entire stroke, regardless of the Brush Type setting.
The default gradient creates a soft airbrush. Modify the Brush Profile opacity gradient to create new brush looks. • Width: A slider that changes the width of a shape’s outline or width of a paint stroke’s dabs. On paint strokes, width adjustments will alter the size of the dab while also maintaining the spacing between each dab.
• Arrow: The cap is a customizable arrow. When Arrow is selected from the Start Cap or End Cap pop-up menus, the Arrow Length and Arrow Width sliders appear. • End Cap: Pop-up menus that let you choose the shape of an outline’s end cap. This option is only available when Solid is the selected Brush Type. There are five options: • None: The stroke ends at the control point. • Square: The cap is squared off. • Round: The cap is rounded. • Bevel: The cap is cut at an angle.
• Order: A pop-up menu lets you choose whether an outline is drawn over or under the shape fill color or gradient. The effect is more apparent with thicker outline widths. • Over Fill: Outlines appear on top of the selected fill of the shape. Over Fill • Under FIll: Outlines are obscured beneath the selected fill of the shape.
Source Start Frame: Click the Source Start Frame disclosure triangle to display a mini-curve editor that allows you to define the frame where playback of the source clip begins in the paint dabs. The Source Start Frame default keyframe value is 0. You can change the start frame for all dabs, or you can create a curve so start frames vary over the length of the stroke (different dabs use different start frames). For example, if the first Source Start Frame value is 50, each dab begins playback at frame 50.
Stroke Pane Controls in the Inspector After you create an airbrush or image paint stroke using the Paint Stroke tool, a set of paint stroke controls becomes available, combining controls similar to those of a particle system or replicator. Use these controls to set the Stroke Color Mode and Brush Scale parameters, and to adjust the Opacity, Spacing, Width, and Angle Over Stroke parameters.
Opacity Over Stroke: An opacity control that appears when Stroke Color Mode is set to Use Brush Color. Use it to change the opacity of dabs based on their location on the stroke. This gradient control is limited to grayscale values, which are used to represent varying levels of transparency. White represents solid dabs, progressively darker levels of gray represent decreasing opacity, and black represents complete transparency.
Color Range: A gradient editor that appears when the Stroke Color Mode is set to Pick From Color Range. Use it to define a range of colors used to randomly tint the stroke’s paint dabs. The direction of the gradient colors is not relevant, only the number of colors that appear in the gradient. The Color Range parameter has the same controls as the Color Over Stroke parameter. For information on using gradient editors, see Gradient Controls.
In the following illustrations, the Spacing Over Stroke curve in the mini-curve editor is adjusted so a greater value is used at the start of the stroke, and 100% is used at the end of the stroke. The dabs at the beginning of the stroke are spaced more widely apart and get closer at the end of the stroke. Two controls let you fine-tune the curve in the graph: • Spacing Over Stroke: Use the sliders or enter a number in the value field to change the value of the selected keyframe.
• Start and End: Adds dabs to or removes dabs from the start and end points of a paint stroke when the length of the paint stroke is modified. The first and last dabs on the stroke remain fixed. Note: Changing a shape’s control points or adjusting the Width or Spacing parameters (in the Style pane) or Spacing Over Stroke and Width Over Stroke parameters (in the Stroke pane) affect the dab spacing because larger dabs can be spaced further apart.
Brush Scale Randomness: Defines an amount of variance in the scale of the stroke’s brush. A value of 0 results in no variance—all dabs in the stroke are the same size. A value greater than 0 introduces a variance. The scale for an individual dab is defined by the Scale parameter, plus or minus a random value falling within the Brush Scale, Width Over Stroke, and Width (in the Style pane) parameters. Click the disclosure triangle to adjust the X and Y values independently.
Angle Over Stroke: This mini-curve editor allows you to customize the Z rotation (in degrees) of the dabs over the length of the stroke. You can create a curve that gradually increases the dabs’ angle over the length of the stroke, a curve that varies the dabs’ angle over the length of the stroke, and so on. Select or add a keyframe in the graph to make changes using the Angle Over Stroke and Stroke Length controls.
• When the Dab Depth Ordered checkbox is deselected, dab ordering remains consistent when the paint stroke (or the camera) is rotated in X or Y space. When this checkbox is selected, the dabs jump in front of each other each time the stroke rotates 180 degrees. In other words, this checkbox draws the dabs in the stroke according to each dab’s actual 3D position in the project. Dabs that are closer to the camera appear closer; dabs that are farther from the camera appear more distant.
Because paint source dabs are 2D (flat) objects, the pattern elements are not visible when you use the orthogonal camera views, such as Left, Right, and Top (unless the source layer or dabs are rotated in 3D space). This is because orthogonal views are at right angles (perpendicular) to the elements. For more information on using cameras, see Cameras.
• Stroke Length: Stroke Length is mapped horizontally on the mini-curve editor graph and provides a visual representation of the position of the changes in jitter value (keyframes) over the length of the stroke. Use the sliders or enter a number in the value field to change the value of the selected keyframe. For more information on using the mini-curve editor, see Mini-Curve Editor.
3 To increase the width of the dabs, drag away from the point; to decrease the width of the dabs, drag toward the point. 4 To change the position of a width keyframe, drag the control point left or right to move it along the length of the stroke. (Keyframes can be dragged over one another.) The mini-curve editor is updated as you make your onscreen adjustments. 5 To add width keyframes, Option-click or double-click the red spline. 6 To delete width keyframes, select the keyframe and press Delete.
Emission Angle: A dial and value slider that set the direction in which the paint dabs travel. This parameter works in conjunction with the Emission Range parameter. Emission Range: A dial and value slider that restrict the area in which the dabs travel, in the direction of the Emission Angle. Setting the Emission Range parameter to 0 degrees keeps dabs perpendicular to the paint stroke. Life: A slider that defines the duration of each dab, in seconds.
Pen Speed: Allows you to affect the width, opacity, spacing, angle, or jitter of the paint stroke based on the speed of your stylus on the tablet or the speed of your mouse when the stroke was created. This parameter only appears when you do any of the following: • Create a paint stroke using the Paint Stroke tool in the toolbar • Apply a shape style from the Shape Style pop-up menu to an existing paint stroke These controls are identical to the Apply Pen Speed (Shape behavior) parameters.
• B-Spline: Control points are all B-Spline points, with different degrees of curvature. B-Spline control points lie inside, outside, or on the edge of the shape, and are connected by the B-Spline frame. Note: To show or hide the display of the B-Spline frame, choose View > Overlays > Lines. Closed: If you select an open shape, this checkbox is deselected. Turning this checkbox on connects the first and last points of an open shape. If you select a closed shape, this checkbox is selected.
Note: As with all other layers, you can adjust the overall opacity of a shape (with its outline) in the Properties Inspector. Shape HUD Parameters A shape or completed paint stroke must be selected to display the Shape HUD. If the HUD does not appear, press F7 or D. Additional parameters appear in the HUD along with standard Opacity, Blend Mode, and Drop Shadow controls. For more information on these standard parameters, see Parameters in the Properties Inspector.
It’s not necessary to create every part of an illustration with a single shape. Most of the time it is easier, and sometimes essential, to use multiple overlapping shapes to create different parts of an illustration. For example, the face in the illustration above uses a gradient, but the eyes are a different solid color. This is only possible using two shapes. Organizing Objects Used in Multi-Shape Illustrations You can arrange related layers in a project into groups.
Locking Layers and Shapes While Editing Illustrations You can lock layers and shapes that are behind the shapes you’re drawing and editing in the foreground to avoid accidentally selecting and modifying the wrong one. Layers and shapes can be locked and unlocked. To lock a layer or shape, use the lock icons in the Layers list or Timeline. Using Object Alignment While arranging groups of shapes to create more complex illustrations, you can use the Alignment commands in the Object menu.
You can use masks to punch holes inside shapes using the mask drawing tools. You can also apply image masks to a shape, which allow you to use any object to define transparency. For more information on using masks and image masks, see Using Masks to Create Transparency. Shape with mask set to Subtract Original shape Applying Filters to Shapes You can apply filters to shapes, like any other layer.
For more information on using filters, see Using Filters. Animating Shapes You can animate shapes using both behaviors and keyframes. In addition to using Basic Motion, Simulation, and Parameter behaviors, shapes have their own special category of Shape behaviors. Shape behaviors allow you to oscillate, randomize, or wriggle the individual control points of shapes, to “write on” a shape outline over time, or to apply tracking data to the control points of a shape.
Parameters in the Inspector Apply To: Use this pop-up menu to select how your paint stroke is affected by pen pressure. There are five options: • Width: Pen pressure affects the width of the stroke. The harder the pressure, the wider the stroke. • Opacity: Pen pressure affects the opacity of the stroke. The harder the pressure, the more opaque the stroke. • Spacing: The harder the pressure, the greater the spacing between stroke dabs.
Note: A paint stroke created by using a mouse can be affected by the Apply Pen Speed behavior. The parameters in the HUD are identical to the parameters in the Inspector. Note: In the Paint Stroke Tool HUD, you can select how the speed of the stylus affects the stroke before the stroke is created. Applying the Pen Speed behavior allows you to affect more than one parameter (such as Opacity, Width, or Jitter) of the stroke using the same pressure data.
HUD Controls The parameters in the HUD are identical to the parameters in the Inspector. Apply Pen Tilt When you use a stylus to create paint strokes using the paint stroke tool, this behavior allows you to affect the width, opacity, spacing, angle, or jitter of the paint stroke based on the tilt of the pen while creating strokes. Note: You can use a combination of Apply Pen Tilt shape behaviors to affect more than one parameter (such as Opacity, Width, or Jitter) of the stroke using the same tilt data.
Max Tilt: Adjusts the maximum threshold of tilt sensitivity. Tilt values above the maximum value are remapped to 1. For Opacity, Width, Spacing, Angle, and Jitter, those values will have the greatest effect. If the Min and Max tilt are plotted on a graph, Max Tilt represents the maximum value, or 1. The area of the graph between Min and Max is remapped to the output values. Scale: Determines the magnitude of the effect.
Alternate Phase: When this checkbox is selected, the motion of each control point is offset by a phase of 180 degrees from its neighboring control point. Oscillate Around: This pop-up menu allows you to define whether the oscillation for each vertex is generated from a point or a perpendicular line. • Point Origin: Each vertex’s oscillation is generated from a point.
Parameters in the Inspector Amount/Multiplier: This parameter is set to Amount when the Apply Mode is set to Add, Subtract, or Add and Subtract; it is set to Multiplier when the Apply Mode is set to Multiply. This parameter defines the maximum value the Randomize behavior will generate. Apply To: A pop-up menu that defines whether the behavior is applied to the shape’s control points, tangent handles, or both points and handles.
Random Seed: A button that lets you pick a new random seed number. This number is used to randomly generate new sequences of values, based on the other parameters of this behavior. HUD Controls The Randomize Shape HUD contains the Amount, Multiplier, Apply To, Frequency, Noisiness, Link, and Preserve Angle parameters. Sequence Paint The Sequence Paint behavior allows you to animate the individual dabs of a paint stroke in sequence over time.
• Color: Specifies a color to use to tint the stroke dabs. You can click the color well to choose a color, or open the disclosure triangle and use the Red, Green, and Blue sliders or value fields. • Opacity: Defines the opacity of the stroke dabs. Set a new value using the slider. • Scale: Defines the scale of the stroke dabs. Click the disclosure triangle next to the Scale parameter to reveal separate X Scaling and Y Scaling subparameters to scale the width and height of the dabs separately.
• Through: Specifies that the sequence goes through a full animation cycle starting at the original value of the stroke, moves to the value set in the Sequence Paint behavior, and then returns to the original value of the stroke. For example, if the original opacity value of a stroke dab is 100%, and opacity is set to 0% in the Sequence Paint parameters, the dabs begin completely opaque, become transparent, and then become completely opaque again.
• Ease Out: The sequence animation begins at normal speed and slows toward the end of the paint stroke. • Ease In/Out: The sequence animation begins slowly, increases to normal speed as it moves toward the middle of the stroke, and slows as it reaches the end of the paint stroke. • Accelerate: The sequence animation increases in speed. • Decelerate: The sequence animation decreases in speed. • Custom: Allows you to keyframe how the animation moves through the paint stroke.
Wriggle Shape This behavior works similarly to the Randomize behavior, but with a slower effect (think of a shape that’s had one too many espressos before dance class). When the Wriggle Shape behavior is applied to a shape, all control points of the shape are affected by default. When the behavior is selected in the Layers list, affected control points are highlighted in white on the blue shape behavior spline. To disable control points, click the control points. A disabled point appears blue.
Frequency: A slider that lets you adjust the amount of random variation per second. Higher values generate faster variations, whereas lower values generate slower variations. Wriggle Offset: A slider that allows you to offset the sequence of random values when you want to apply the same Wriggle behavior to multiple shapes. By offsetting each shape’s version of the Wriggle behavior, you can prevent them from moving in sync.
• Erase: The stroke is completely drawn at the beginning of the behavior and is erased over the duration of the behavior. • Draw and Erase: The stroke is drawn, then erased over the duration of the behavior. • Erase and Draw: The stroke is completely drawn at the beginning of the behavior, is erased, then is drawn again. Stroke Length: This slider defines the length, as a percentage, of the drawn or erased stroke.
• Custom: Custom allows you to draw the stroke along its path by setting keyframes for the stroke’s speed from 0 to 100%. In other words, you determine what portion of the stroke is drawn along its path in time. Custom Speed: This parameter becomes available when Speed is set to Custom. You can modify the Custom Speed velocity curve in the Keyframe Editor.
5 Play back your project. The stroke is “painted on” as the project plays. 6 To modify the speed at which the stroke is painted, adjust the duration of the behavior in the Timeline or mini-Timeline. You can also modify additional parameters, such as customizing the speed at which the stroke is drawn, drawing on only a percentage of the stroke, offsetting the stroke, or drawing the stroke in reverse. These parameters are available in the Write On behavior, described above.
Keyframing Shape Animation You can also keyframe a shape’s animation parameter to animate adjustments to its individual control points. This opens up powerful animation possibilities, because you can reform an entire shape using keyframe animation. Shape Animation parameter Shape Animation parameter keyframes A series of corresponding keyframed shape changes To keyframe a shape’s control points 1 Use the Edit Points tool (in the 2D tools pop-up menu) to select the shape to animate.
The shape’s control points appear in the Canvas. In this example, the selected shape is the lower lip of the mouth illustration. 2 Turn on keyframe recording in the transport controls under the Canvas (or press A). 3 Move the playhead to the frame where you want to change the shape, then make any necessary changes to the shape’s control points. In the Keyframe Editor (and also in the Timeline, if the Show/Hide Keyframes button is turned on), a keyframe appears for each adjustment you make at a new frame.
Every time you make a change to the shape at a new frame, you create a keyframe in that shape’s Shape Animation parameter. 5 When you are done animating the shape, disable Record. The animated shape object interpolates between each keyframed shape. If you don’t like how the interpolation is working, you can add more keyframes to force the control points to follow the path you want.
Each customized shape or shape style saved to the Library is saved as a separate file in the Motion folder of the Application Support directory. For example, a saved custom shape named “red heart” in the Shapes category of the Library appears in the Users/username/Library/Application Support/Motion/Library/Shape Styles/ folder. Items saved to the Library appear in the Finder with a .molo extension (“Motion Library object”). These items cannot be opened from the Finder.
4 To rename the file, do one of the following: • Control-click the icon, choose Rename from the shortcut menu, then enter a descriptive name. • Select the icon, click the current name, then enter a new descriptive name. Note: When you Control-click the icon, the Edit Description option becomes available. This is a handy tool that allows you to enter custom notes about an item saved in the Library. After you choose Edit Description, enter your notes in the text field and click OK.
• Control-click an empty area of the Library stack (the lower section of the Library) then choose New Folder from the shortcut menu. Note: You may have to expand your stack window or use icon view to access an empty area. The new untitled folder appears in the Library stack. The new folder does not appear in the Library sidebar. 3 Double-click the name of the folder, enter a new name, then press Return.
µ To delete a custom folder from a subcategory in the Library stack Control-click the folder in the Library stack, then choose Move to Trash from the shortcut menu. Note: You can also delete the folder from the Finder. The folder is stored in the Users/username/Library/Application Support/Library/ folder. Important: Deleting a custom object or folder cannot be undone.
• Freehand Mask (used like the Paint Stroke tool) • Bezier Mask • B-Spline Mask Note: You can also use an Image Mask to mask a layer. For more information, see Applying Image Masks to a Layer. Important: A mask cannot be applied to a nonflattened 3D group. (To flatten a 3D group, select the Flatten checkbox in the Group Inspector.) A mask can be applied to a layer in a 3D group. To add a mask to a layer that has been manipulated in 3D space, use the Isolate button. Masks cannot be manipulated in 3D space.
To mask a layer 1 Select a layer in the Canvas or Layers list. 2 Choose a mask drawing tool from the pop-up menu in the toolbar (the Rectangle Mask tool, the Circle Mask tool, the Freehand Mask tool, the Bezier Mask tool, or the B-Spline Mask tool). Note: If you haven’t selected a layer, the mask tools are not available. 3 Begin drawing the shape to mask the layer. For more information about how to draw and edit shapes, see Shape and Mask Drawing Tools.
4 When you’re done, you can finish the mask by doing one of the following: • Click the first point to close the mask. • Press C to close the mask, joining the first point you created to the last. • Double-click to close the mask, joining the first point you created to the last. • Press Return to close the mask, joining the first point you created to the last. • When using the Freehand Mask tool, join the end of the mask to the target circle at the beginning of the mask.
Note: Masks can be applied to the layers in a 3D group, but not the 3D group itself (unless you’ve activated the Flatten checkbox in the Group Inspector). For more information about the Flatten checkbox, see Mask Parameters. To isolate a layer 1 In the 3D project, select the layer to mask. In this example, the center leopard image is the layer to be masked. The Isolate button appears to the right of the layer name in the Layers list.
The layer is switched into “work view,” allowing you to mask the layer at its original orientation. 3 To return to your previous view (the view before you isolated the layer), click the Isolate button again. Active Isolate button Note: Clicking a camera’s Isolate button activates that camera’s view. Combining Multiple Masks Often, you may find that it is impossible to create the mask shape you need using only a single mask.
Other times, you may find that it’s more convenient to mask a complex object using multiple masks. This is frequently the case when rotoscoping an object and animating the masks. In this example, the dog’s head is masked with four masks set to Add—one for the head, one for each ear, and a separate mask for the mouth. This makes it easier to make adjustments later on, especially when animating a mask to do rotoscoping.
Masks That Add and Subtract New masks default to the Add blend mode, allowing you to add to an existing alpha channel. After you draw the first mask, you might need to use additional masks set to Add or Subtract to refine it. Masks set to Add create white areas in the alpha channel, making those parts of the object opaque. This can be useful when masking several unconnected subjects in a single image.
For example, if you import a TIFF file with an alpha channel and you want to cut out part of it without losing alpha information, you must use the Intersect blend mode. This is also true for layers with keying filters applied. Original alpha channel from key. Intersecting mask crops unwanted opaque areas. Replace Masks A mask set to Replace completely replaces the previously existing alpha channel. It also completely replaces all other masks appearing underneath it in the Layers list.
You can feather mask edges outward or inward. The direction in which you feather a mask is dictated by the subject you’re masking. When rotoscoping a subject, a combination of inward and outward feathered masks may be necessary for the best results. Feathered in (color channel) Feathered in (alpha channel) Feathered out (color channel) Feathered out (alpha channel) To feather the edge of a mask 1 Select a mask. 2 Open the Mask Inspector.
For example, you can apply the Crystallize filter to a mask to stylize its edges. This results in jagged edges that resemble facets of crystal around the edges. Original mask (color channel) Original mask (alpha channel) Crystallize filter applied to alpha channel (color channel view) Crystallize filter applied to alpha channel (alpha channel view) When applying filters to masks, it’s useful to bear in mind that masks are just grayscale images.
Applying Behaviors to Masks You can apply behaviors to masks. When you apply a behavior to a mask, the mask is animated like any other layer. However, because the mask only affects the transparency in a layer, and not the position, rotation, or scale of the layer, the result is similar to that of a “traveling matte,” where the mask moves in the layer it is applied to, hiding and showing different areas of the image as it moves.
2 Move to the first frame where the mask animation should begin, then draw a mask that accurately isolates the subject. 3 When you’re finished drawing the first mask, click the Record button in the transport controls (or press A). Active Record button 4 Move to the first frame of the Timeline where you want to change the shape of the mask, then make any necessary changes to its control points.
Note: For some tips on rotoscoping, see Rotoscoping Tips.
Composited image (Mask allows different effects to be applied to the background image and the foreground image.) When rotoscoping a moving subject, it’s a good idea to play through the clip and examine its direction and speed to get a sense of how the mask must be animated. You may find it helpful to place markers indicating frames where the subject or camera stops, changes direction, or changes speed, because these are likely candidates for your first pass of keyframed mask changes.
One imprecise rule of thumb is to move to the frame that’s halfway between any two keyframed mask shapes and make new adjustments. Continue keyframing shape changes at the halfway point between every two keyframes until the mask accurately follows the motion of the subject. For irregularly shaped objects or objects with complex motion, don’t be surprised if you need to add a large number of keyframes.
Rotoscoping Tips A good way to start rotoscoping an image is to find the frame with the most detail showing in the subject you’re masking, and use that as your starting frame. For example, if you’re masking someone walking, choose a frame where that person’s arms and legs are out in mid-stride. This allows you to decide how many control points to start with. Using the minimum number of control points you can to achieve the necessary level of detail in your mask makes it much easier to animate.
• 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 layer to which it’s applied. When a layer has multiple masks, each mask can have a different Mask Blend Mode.
If the layer contains an alpha channel, a mask set to Add mode isolates only the masked section of the original alpha channel. Original alpha channel of butterfly clip Circle mask set to default. Add mode applied to butterfly clip. • Subtract: Subtracts a mask from the alpha channel. This is useful for creating holes in the middle of objects, or for masking out additional regions of an image that are untouched by other masks.
• Replace: This setting uses the current mask to completely replace the object’s original alpha channel, as well as any other masks that are applied to the same object that appear underneath the current mask in the Layers list. You can add masks above, set to whatever blending mode you like. In the following example, the circle mask overrides the rectangle, because is the topmost mask nested in the gradient object. • Intersect: Masks set to intersect do not replace an object’s original alpha channel.
Tip: You can apply different filters and effects to the foreground and background of an image by first masking the foreground subject, duplicating the layer and its mask, then inverting the duplicate layer’s mask. Effects applied to the background can then be completely isolated from the foreground, or vice versa. Note: You can adjust the opacity of a mask in the Properties Inspector. Roundness: Controls the roundness of the corners of a mask.
Note: You can use masks and image masks together. The power of image masks is that they do not have to be drawn or animated. Instead, you can use virtually any image or movie clip to create transparency in another layer. By default, movie clips create animated image masks, but you can also set an image mask to use only a single frame. Image masks can also be used to assign masks created in other applications.
3 With the image mask selected, do one of the following: • Open the Image Mask Inspector, then drag the layer to use as the mask into the Mask Source well. Mask Source well • Drag the layer to use as the mask into the Mask Source well in the HUD. Important: Click and drag in one movement to successfully drop a layer in an image well. If you select the layer to use as the source, then release the mouse button, you lose the selection. In this example, text is used as the mask layer.
Applying Behaviors to Image Masks You can also apply behaviors to image masks to create animated transparency effects. For more information, see Applying Behaviors to Masks. Image Mask Parameters After you add an image mask to a layer, the following parameters become available in the Image Mask Inspector. Image Mask Parameters in the Inspector The Image Mask HUD contains the Mask Source, Source Channel, Mask Blend Mode, Invert Mask, Stencil, and Stretch parameters.
Mask Blend Mode: A pop-up menu that determines how an image mask interacts with the alpha channel of the layer to which it is applied. When a layer has multiple image masks, each mask can have a different Mask Blend mode. When this happens, each mask adds to, or subtracts from, the layer’s alpha channel according to the selected mode. The final alpha channel is the combined result of all image masks applied. These modes are identical to the Mask Blend Mode options available for shape masks.
Garbage Masks The second step in many keying shots is to create a garbage mask to crop out unwanted objects in the shot that can’t be keyed, such as the edge of a blue screen stage, lighting rigs, or tape that appears in the background. Original image Keyed image You can also use a garbage mask to conceal parts of the background too difficult to key without the loss of foreground detail. µ To create a garbage mask Select a keyed layer and use a mask tool to draw a mask around the foreground subject.
Holdout Masks Sometimes, while pulling a key, you lose part of the image you’re trying to keep. This can happen when the color of the subject’s clothing is too close to the color of the background being keyed out, or when you need to use keying values that are too aggressive. In this example, small parts of the bird’s head and wings are getting removed with the key, rather than just the blue sky. The following images show an example of a key that must be manually masked.
If you’ve used a Spill Suppressor filter, don’t delete it, because it’s probably changing the color of the subject. 5 Feather the edge of the holdout mask you’ve just created, to make sure that it blends in with the object you initially keyed. In the following image, the mask on the bird creates a clean key by removing the “dirt” left by the original key.
Eventually, you may find you can achieve an optimal key for each part of the subject. Furthermore, with all duplicates nested in a single group, you can continue to manipulate the subject as a single object. Converting Between Shapes and Masks Because masks and shapes are created in similar ways but perform different tasks, there are occasions where you may create a shape and later want to convert it into a mask, or vice versa.
2 In the Layers list, drag the shape object onto another shape object and pause, holding down the mouse button. A drop menu appears. 3 Choose Add Mask To Shape. The shape is converted into a mask on the other shape. Note: Spline masks are not applicable to 3D paint strokes. The Local 3D checkbox must be deselected in the Stroke pane of the Shape Inspector for the drop menu to appear.
µ To convert a mask to a shape In the Layers list, select a mask and do one of the following: • Choose Object > Convert To Shape. The shape moves to the bottom of the group. • Drag the mask between two objects in the Layers list. • Drag the mask onto the group layer and pause, holding down the mouse button. When the drop menu appears, choose Move Shape To Group.
For example, if you’ve applied a keying filter, you can use the following filters to modify the resulting alpha channel even though no mask appears for that layer in the Layers list or Timeline. • Channel Blur: This filter, found in the Blur category of the Filters library, lets you selectively blur the alpha channel. You can set the amount of horizontal and vertical blur independently.
3D Compositing 21 Motion includes a robust set of tools for creating projects that display objects in a true three-dimensional space. You can arrange objects in a 3D environment so they intersect and interact with one another. You can also employ cameras and lighting, and apply related effects such as depth of field, shadows, and reflections. This chapter covers the following: • Real-World Coordinates (p. 1229) • 3D Transform Tools (p. 1231) • 3D Workspace and Views (p.
Coordinates and Object Position in Space The location of an object in Motion can be described in these terms as well. The coordinate system used by Motion specifies the center of the Canvas as 0, 0, 0. Moving an object to the left subtracts from the X value, while moving to the right adds to the X value. Moving an object up adds to the Y value, and moving an object down subtracts from the Y value. Moving an object closer adds to the Z value, while moving further away subtracts from the Z value.
3D Transform Tools There is no inherent difference between 2D and 3D project files in Motion. At any point, you may decide to start working with groups or layers in 3D. Doing so requires no preplanning on your part; in fact, it’s possible to go back and forth between manipulating objects in 2D and 3D space. This section covers the tools you can use to move objects around in the Canvas. The image in the screenshot above has just been imported into the scene and is positioned at the scene’s origin.
Two things happen immediately when you select the 3D Transform tool. The onscreen controls change, and the object’s HUD displays additional 3D transform controls. Drag to move along X and Y axes. Drag to move along X and Z axes. Choose an axis type. Drag to move along Z axis. 3D Transform Onscreen Controls When you select the 3D Transform tool, three colored arrows appear in the Canvas near the center of the image. Each arrow corresponds to one of the three coordinate axes.
When dragging, the active arrow turns yellow and the status bar above the Canvas displays the current coordinates of the object as well as the distance the object has moved. Coordinates are given in the form of X, Y, and Z. Near the three colored arrows are three small circles. X-axis rotation handle Z-axis rotation handle Y-axis rotation handle These are rotation handles. Placing the pointer over a circle invokes a rotation ring for the axis.
The status bar displays the current Rotation values as well as the amount the object is rotated. To rotate an object around all axes using the onscreen controls 1 Select the object to rotate. 2 Place the pointer on a rotation handle, then hold down the Command key. All three rotation rings appear. 3 While continuing to hold down the Command key, drag anywhere inside the rings to rotate the object. The status bar displays the absolute rotation values as well as the delta (amount of change) in rotation.
3D Transform Onscreen Controls Display It is possible to display a subset of the 3D transform onscreen controls. • Press the Comma key (,) to display the axis arrows (but not the rotation handles or scale handles). • Press the Period key (.) to display the rotation handles (but not the axis arrows or scale handles). • Press the Slash key (/) to display the scale handles (but not the axis arrows or rotation handles).
• Move XY: Drag here to move the object along the X and Y axes. Dragging right or left increases or decreases the X value. Dragging up or down increases or decreases the Y value. Using this control is identical to draggin a 2D object in the Canvas. Hold down the Command key when dragging to constrain movement to the initial direction of the drag. • Move XZ: Drag here to move the object along the X and Z axes. Dragging right or left increases or decreases the value of X.
Relative Coordinates To better understand the concept of relative coordinates, think of a system of satellites, like the earth, the moon, and the sun. The moon’s parent is the earth, and the earth’s parent is the sun. Usually, when considering these three bodies, the moon’s position is described in terms of its position relative to the earth (the moon’s parent), and the earth’s position is described relative to the sun (the earth’s parent).
Moving the image to a position of 50, 50, 50 displaces it by 50 pixels from the group’s origin in all axes. You can see in the image below that the porcupine is now exceeding the visible area of the Canvas. Although the image’s apparent position relative to the world is 150, 150, 150, its Position values in the Inspector are 50, 50, 50 because its position is always relative to its parent. Object position set to 50, 50, 50 Rotation values are also relative to an object’s parent.
Important: World and view transforms are limited to the HUD and onscreen controls; all transforms made in the Inspector are relative to an object’s parent’s space. Layer Order and Depth Order When compositing in 2D, the Layers list shows the layer order, which determines the stacking order of objects in the Canvas. Objects higher up in the Layers list appear in the Canvas on top of objects lower than them in the Layers list. Important: The children of 2D groups are composited in layer order.
The Layers list also shows object relationships in terms of parenting. The parent-child relationship is displayed in the Layers list through the use of indenting and disclosure triangles. Parent of A and Blue box layers Children of Blue A group Children of Red B group Parent of B and Red Box layers The Layers list is not the only indicator of order when considering objects in 3D.
In the above example, the Blue A group is above the Red A group in the Layers list but it appears behind the Red A group in the Canvas because it is depth-sorted. The same principle applies to the Blue B group and the Red B group. 3D Transformations in 2D Groups All objects have 3D transformations available, even when in 2D groups. Objects can be rotated around any axis and moved along any axis. Objects in 2D groups are not depth-sorted, and cannot intersect, regardless of their position in 3D space.
3D Workspace and Views In a 3D workspace, everything is seen from the viewpoint of a camera. The default views presented in the 3D workspace are reference cameras that can be used and manipulated to help place and animate objects but are not used for rendering output. To render from one of the camera views, you must create a scene camera. For more information on cameras, see Cameras. Views There are several view layouts, with each layout consisting of an arrangement of viewports.
Orthographic cameras do not show perspective. Perspective cameras—and scene cameras that you add to a project—distort the view the way a real-world camera would. Object rotated in orthogonal camera view Object rotated in perspective camera view To access camera views and camera controls, add a scene camera to your project. To add a scene camera to a Motion project 1 Choose Object > New Camera (or press Command-Option-C).
After you add a camera to a project, the Camera menu becomes available in the upper-left corner of the Canvas. 3D Canvas Overlays There are six 3D overlays that can appear in the Canvas: the Camera pop-up menu, the 3D View tools, the Inset view, the 3D grid, the 3D Compass, and the 3D scene icons. You can turn the display of overlays on or off.
µ From the View pop-up menu in the status bar, choose the type of 3D overlay to show or hide. Camera Menu The Camera pop-up menu, located in the upper-left corner of the Canvas, lists the active camera view. Choose from a list of reference cameras and scene cameras. The menu also contains several view-related commands. The Camera menu is divided into three sections: • The top section allows you to select the active camera as well as any other scene cameras you have added to the project.
Note: If you use the orbit control to change an orthogonal reference camera, an asterisk appears next to the view’s name in the Camera menu, indicating that the view is no longer a true orthogonal view. • Dolly: Drag in this box to dolly the camera, moving it along the Z axis relative to the current view. Tip: Double-clicking a 3D View tool resets all parameters that can be affected by the tool.
2 Click the icon representing the camera to activate. The view in the Canvas updates to the selected reference camera view. To select a scene camera view using the 3D Compass 1 Position the pointer over the 3D Compass. The compass changes to its active state. 2 Control-click the 3D Compass, then choose a scene camera from the shortcut menu. The view in the Canvas changes to the selected scene camera view. Note: You can also choose a reference camera view from the 3D Compass shortcut menu.
3D Grid The 3D grid shows the ground plane of the 3D world. The ground plane is, as the name states, a plane attached to the ground of the scene, where Y equals 0. The ground plane represents the dividing line between up and down, that is, between positive Y values and negative Y values. It is centered on 0, 0, 0. 3D Scene Icons 3D scene icons are the onscreen representations of cameras, lights, and edge-on lines.
Note: No 3D scene icons appear in exported images or movie clips. Edge-on line indicator Camera’s angle of view Light Camera Tip: Double-click a camera scene icon to select it and change the current view to that camera. Viewport Layouts Motion allows you to have multiple viewport windows active at the same time in the Canvas to help animate and position objects in 3D space. A pop-up menu, located in the status bar just above the 3D View tools, lets you choose from seven viewport layouts.
• Three-up, large window below: Displays three viewport windows, two next to each other on top and a larger window below. • Three-up, large window right: Displays three viewport windows, two stacked on the left side and a larger window spanning the right side. • Four-up, large window right: Displays four viewport windows, three stacked on the left side and one larger window on the right side. • Four-up: Displays four viewport windows, all the same size.
µ To change a group’s 2D/3D type In the Layers list or Timeline, select the group to change, then do one of the following: • Choose Object > 3D Group (or press Control-D). • Click the 2D/3D icon in the right side of the Layers list. 2D group icon 3D group icon • From the Type pop-up menu in the Group Inspector, choose 2D or 3D. Root-Level Behavior At the root level of the project, 2D groups behave differently than when they are nested inside 3D groups.
2D and 3D Group Interaction Although 2D and 3D groups share a lot of common properties, there are distinct differences in how they and their children behave and interact with other objects in a project. 2D and 3D groups can be parents or children of each other; there are no restrictions on mixing group types. Important: Some operations, as well as the application of some filters or a mask, cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image.
• Filters are applied to the group in local space—that is, flat to the image. Checkerboard in 2D group with Twirl filter applied • When lights are used, the group is lit as a single object; its children are not lit individually. Note: 2D groups at the root level are not affected by lights. • Because it is flat, a 2D group has Crop, Drop Shadow, and Four Corner parameters. • It can have a fixed resolution.
Working with Objects Inside 2D Groups and Flattened 3D Groups You can use the Isolate command to align the active view with the axis of a 2D group or flattened 3D group. Doing so facilitates making adjustments to objects inside the group. For more information on the Isolate command, see Isolate. If you cannot find an object in your project, you can locate it by resetting its Position parameter to 0, 0, 0. This centers the object in the flat group.
Active Camera If a scene contains more than one camera, the topmost camera in the Layers list and in the Timeline at the current frame is the active camera. Although the active camera is the default camera used for export, you can select any scene camera to export. Camera 3 is active at playhead position. Note: The active camera is not the same as the active view. The active view is the last viewport you clicked in when working with multiple viewports.
Tip: The position of a Framing camera’s origin makes it useful for orbiting moves. Rotating the camera causes it to orbit, whereas rotating a Viewpoint camera causes it to pivot—also known as panning (horizontal) or tilting (vertical). Angle of View: A slider that sets the angle of view of the camera, which is the number of degrees in which the camera sees. Values range from 0 to 180 degrees. Note: When you animate the Angle of View parameter on a Framing camera, the result is an opposing dolly effect.
Scaling, Positioning, and Animating Cameras Various controls allow you to scale, position, walk, and animate cameras. After you position cameras in a project, you can select a single camera view using the Isolate command. For more information on using the Isolate command, see Isolate. Scaling a Camera You can use the Scale parameter in the Properties pane of the Inspector to scale what a camera sees. Changing the Scale value does not affect a camera’s Angle of View parameter.
Note: If the tool is not visible, press and hold the Pan or Zoom tool to open the pop-up menu. The pointer changes to indicate that the Walk 3D View tool is active. 2 Use the Up Arrow, Down Arrow, Right Arrow, and Left Arrow keys to move the camera in 3D space; hold down the Option key while using the arrow keys to move the camera more slowly. You can also drag in the Canvas to orient the camera.
The current view changes to align itself with the selected object, and all other objects in the scene are hidden. Object in the Canvas Object after isolation When an object is isolated, a temporary camera is created and listed in the Camera menu. The camera shares its name with that of the isolated object. To exit the isolated view Do one of the following: µ µ µ Choose Object > Isolate (or press Control-I). In the Layers list or Timeline, click the Isolate button.
Depth of Field In the real world, cameras have a limited range of focus. Objects within that range appear sharp, and the further outside that range an object is, the blurrier it appears. This effect is used by camera operators to help limit which part of a scene the viewer pays attention to. Motion allows you to simulate that phenomenon, thereby increasing the sense of depth in a 3D scene. Every camera in Motion has a focus offset that determines the precise location of perfect focus.
Depth of Field Controls Depth of Field settings are found in the Camera pane of the Inspector. The Depth of Field controls allow you to set a range of focus by changing the Near Focus and Far Focus parameters. Objects outside that range are blurred. You can also modify the type and amount of blur used to render the out-of-focus effect. DOF Blur Amount: A slider to control the maximum amount of blur applied to out-of-focus objects.
µ To turn off depth of field in the Inspector Select the camera in the Layers list or Timeline layers list, then set the DOF Blur Amount value (in the Depth of Field parameters) to 0 in the Camera Inspector. Camera Behaviors Although most types of behaviors in Motion can be applied to cameras, there is an additional set of behaviors specifically designed to be applied to a camera in a 3D project.
Framing Animates the camera along a path to position it in front of a selected object. You can control how the object fits into the frame at the ending position, and you can control the shape of the path to affect the amount of bend or curvature, as well as the apex of such a curved path. Other parameters allow you to customize the camera’s orientation along the path, the speed at which it travels, and at what point it begins orienting towards the target object.
• Simple Fit: Positions the camera so both width and height of the project fit in the frame. If the target object is larger or smaller than the project dimensions, it may not properly fill the frame. • Custom Fit: This option appears when the Framing Offset parameter is manipulated manually. Framing Offset: Three value sliders (X, Y, and, when expanded, Z) to offset (in pixels) the point on the target that is centered, relative to the camera.
Framing Behavior Onscreen Controls The Framing behavior has onscreen controls that allow you to manipulate the behavior settings in the Canvas. Offset Path Apex Framing Offset control Path Offset control Camera motion path (created by Framing behavior) When a Framing behavior is applied and selected, The controls in the Canvas allow you to create a custom framing size and shape, and to visually adjust the Framing Offset and the Offset Path Apex.
End: A dial that sets the camera’s final angle relative to its Start parameter value. Speed: A pop-up menu that sets the type of interpolation used for the rotation. The value can be set to Constant, Ease In, Ease Out, Ease Both, Accelerate, or Decelerate. Axis: A pop-up menu that sets the axis around which the sweep occurs. Value can be set to Tilt X, Swivel Y, or Roll Z. HUD Controls The HUD contains the same controls as the Inspector. Zoom In/Out Animates the camera’s Angle of View parameter.
Speed: A pop-up menu that sets the type of interpolation used for the rotation. The value can be set to Constant, Ease In, Ease Out, Ease Both, Accelerate, or Decelerate. Zoom: A slider that sets a proportional value to modify the camera’s Angle of View parameter. A nonzero value determines how much the angle of view (and thus perspective) changes relative to the camera’s initial angle of view. A zero value for Zoom leaves the Angle of View parameter unchanged.
Properties Affecting the Appearance of Lights When you add lights to a scene, two groups of properties contribute to the appearance of lights: light properties and object lighting properties. You can adjust light properties by selecting a light object in the project and then modifying the parameter values in the Light pane in the Inspector.
• Directional: A directional light emits parallel rays of light in a specified direction from a source located at an infinite distance. Only the rotation of this light has bearing on its effect. A directional light icon, in conjunction with the transform controls, can be used to assist in visualizing the direction the light is traveling in a scene. The directional light icon appears as a cylinder with one end removed.
• Spot: A spot light emits light from a conical light source and casts an elliptical pattern on objects hit by the light. Using a spot light allows for a high degree of accuracy when you need to limit the area affected by the light. Spot light Spot light example Color: A standard set of controls that enable you to select the color of the light. Intensity: A slider that cats as a dimmer switch for lighting.
In the example below, a light is positioned slightly above the origin of the scene. There are three rings of cards at a distance of 200, 500, and 1000 units from the light. (In this example, a visible light source—the bulb at the center of the rings of cards—is simulated for illustrative purposes.) The light’s Intensity is set to 100% and Falloff is set to 10%. When Falloff Start is set to 0 (left, below), the light begins to fall off by the time it hits the innermost ring.
In the next example, the image on the left contains a light with Intensity set to 100%, while the image on the right has a light Intensity of 500%. In the image on the right, the outer rings are slightly brighter, but the innermost ring is overexposed. If the Falloff Start of the light in the image on the right is increased to 1000, the rings are overexposed.
Object Lighting Parameters All lightable objects have properties that control how they react to lights in a scene. You can adjust these properties for an object via the Lighting section of the Properties Inspector. Shading: A pop-up menu that enables you to set how an object responds to lights in the scene. If set to On, the object can be lit. If set to Off, the object ignores scene lights. If set to Inherited (the default), the object uses the Shading value of its parent.
Disabling Lighting Lighting effects can significantly impact playback performance. Therefore, you might want to temporarily disable lighting to improve playback speed while working on other aspects of your project. µ To Disable Rendering of Lighting From the Render pop-up menu in the status bar, choose Lighting (or press Option-L). Shadows Motion scenes that include Point or Spot lights can recreate more natural, realistic effects by casting shadows.
Cast Shadows Versus Drop Shadows There are two common types of shadow effects used in motion graphics work: drop shadows and cast shadows. Motion can create both effects, but because they have different purposes and applications, it may be helpful to consider the differences between them. Cast and drop shadows simulate the effect of light blocked by an opaque object.
Shadow Parameters in the Light Inspector Shadows: This checkbox allows you to turn on Shadows controls. (When activated, the checkbox is blue.) The Shadows checkbox allows you to set some lights to cast shadows, and others not to cast shadows. Selecting this checkbox causes the light to cast shadows on objects in front of it if the objects also have shadow controls enabled. Deselecting it exempts the light from generating shadows, regardless of settings of individual objects.
Note: Selecting nonuniform softness can impact playback performance. Uniform softness Nonuniform softness Note: Intersecting objects reveal an unnatural effect of using uniform softness. Because an equal amount of blur is applied to the entire shadow, the blur appears to spill out in front of the intersecting object, creating a strange appearance. This effect can be eliminated in two ways: by deselecting the Uniform Softness checkbox or by setting the object to not receive shadows.
Color: This control allows you to set the color of the shadow. Although semitransparent objects cast lighter shadows than opaque objects, you cannot create light transmission effects wherein a semitransparent object allows some light to pass through it, picking up its color or pattern and projecting that as part of the shadow, as light passing through stained glass does. For more information on using the color controls, see Color Controls.
Receive Shadows: This checkbox controls whether neighboring objects’ shadows affect the current object. When deselected, light affects the object as if the shadow-casting object did not exist. The following image depicts an object (the white ring) with the Receive Shadow checkbox selected and the Casts Shadow checkbox deselected. Shadows Only: This checkbox allows an object to block light and cast a shadow, while the object itself does not appear in the scene.
You can select both Receives Shadows and Shadows Only, which makes the object invisible except for the regions where a shadow is cast upon it. Shadows and Complex 3D Objects When using shadows with objects such as particle systems, text objects, or replicators that are set to 3D, shadows are cast from one part of the object onto another part. This is called self-shadowing.
Modifying the object in a way that causes rasterization prevents shadows from displaying. In some cases you may be able to find another way to perform the effect that does not require rasterization. For example, in the following images, rather than modifying the opacity of the particle emitter, which causes rasterization, you can modify the opacity of the particle cells and maintain the shadows.
When Shading (the visible effect of lighting) is disabled, shadows behave differently. Rather than being multiplied with the object upon which they are cast, the shadow’s color and opacity are controlled only by the Shadows settings in the Light pane of the shadow-casting light’s Inspector. Shading enabled Shading disabled This enables you to create shadows of any color or opacity, from traditional dark shadows to brightly colored or even white shadows.
Shading can be disabled globally by choosing View > Render Options > Lighting or by choosing Lighting in the Render pop-up menu in the status bar. (Make sure there is no checkmark beside the menu item.) Shading can also be disabled for a specific object in the Lighting section of an object’s Properties Inspector. For more about disabling lighting/shading, see Disabling Lighting.
Reflections In the real world all objects exhibit some degree of reflectivity based on surface shine, brightness, angle of view, and proximity to reflected objects. Motion simulates this natural effect, equipping every object with a set of parameters to create and control realistic-looking reflections. When Reflections are enabled for an object, all other objects in the scene are reflected but may only be visible from specific angles and distances.
Falloff: This checkbox determines whether the reflection fades with distance from the object, producing a more realistic result. There are additional options in the Falloff section when this checkbox is enabled: No Falloff With Falloff Begin Distance: This slider determines the distance (inside the reflection) where the falloff begins. When the slider is set to 0, falloff starts at the reflection plane.
Other Reflection Parameters Casts Reflection: The Properties Inspector of every object also contains a Casts Reflections pop-up menu (in the Blending section) that controls whether an object is reflective. There are three options: • Yes: The object is reflected in nearby reflective objects. • No: The object is ignored by reflective surfaces.
• Reflection Only: The object becomes invisible, but appears in reflective surfaces around it. Reflections and Groups In addition to choosing reflections settings for individual objects, you can adjust settings for an entire group. Reflections settings for a group override the settings of individual layers in the group. For example, if an object in a group is not set to receive reflections, turning that setting on for the whole group forces the individual object to receive them.
Limiting Recursive Reflections When a reflective object is reflected in another object, the first object can be seen in the reflection, potentially causing an endless repetition of reflections. Motion limits the number of reflective bounces that can occur in a scene, preserving performance and preventing the viewer from getting lost in infinity. The number of allowed reflections is set per project.
Motion Tracking 22 Motion tracking is a method of recording the movement of an element (a shape or reference point in a movie clip) in the Canvas, then applying that recorded movement data to another element in the Canvas. For example, you can use motion tracking techniques to pin a post-production graphic to the side of a moving bus, track a blurry circle to a person’s face to preserve an innocent bystander’s anonymity, or replace a daring stuntman’s head with the lazy mug of a leading actor.
About Motion Tracking Motion provides a set of automated tracking behaviors that allow you to do the following: • Match move elements in movie clips: You can apply tracking data from a background element (such as a billboard) to a composited foreground element (such as a graphic of a logo) so both elements appear to be locked together. This technique is known as match moving. • Match move animated objects in the Canvas: You can apply the motion data of an animated object to another object in the project.
Note: Although Motion provides a 3D workspace, tracking in Motion is planar. In other words, tracking does not occur in Z space. For example, if you are analyzing two features in a clip—and that clip is moving in 3D space—you are recording the changes in position, scale, or rotation over time in the clip, but not its actual 3D transformation. The object tracked is called the background or source element. The object to which the tracking data is applied is called the foreground or destination element.
The recorded data is stored as keyframes in the tracking behavior. This data allows you to apply the recorded motion to many project elements. Note: The Stabilize behavior uses an advanced technology that analyzes the motion of the entire frame of a clip, without the use of trackers. There are six tracking behaviors in Motion: four in the Motion Tracking behaviors subcategory, one in the Shape behavior subcategory, and one in the Parameter behaviors subcategory.
• Match Move: This behavior is used to match a foreground element to a background element so they appear locked together. This effect can be achieved in three ways: • You can match a foreground element to a background element using one-point (position), two-point (position, scale, or rotation), or four-point (corner-pinning) tracking. Unlike other tracking behaviors, the Match Move behavior can perform the analysis and compositing operations.
• Unstabilize: This behavior does not perform tracking analysis. Instead, the Unstabilize behavior applies the movement recorded by a Stabilize behavior to a clip or object. This allows you to match the camera shake in a movie clip to foreground elements added in post-production. To load the tracking data, choose a track from the Action pop-up menu, located in the tracking behavior HUD or Inspector. Note: The Unstabilize behavior can be applied to nearly any object type.
General Motion Tracking Workflow This section is a general overview of the tracking workflow common to most Motion Tracking behaviors. The Analyze Motion behavior is used in this example. The Analyze Motion behavior analyzes and stores tracking data from a clip but does not transform the tracked object. Analyze Motion data tracks are meant to be referenced by other tracking behaviors. For a full description of Analyze Motion parameters, see Analyze Motion Controls.
2 Play your background clip several times to determine a good reference point in the footage, then move the playhead to the frame where you want to start the track analysis. 3 In the Canvas, drag the tracker to the reference point you want to use. Note: For more information on using the onscreen tracker, see Adjusting the Onscreen Trackers. For more information on selecting a tracking reference point, see Strategies for Better Tracking. 4 To add trackers, click the Add button in the Behaviors Inspector.
The tracking keyframes contained in the behavior appear in the Keyframe Editor. (If the Keyframe Editor is not visible, click the Show/Hide Keyframe Editor button in the lower-left corner of the Motion project window.) X position curve Confidence curve Y position curve Because the Analyze Motion behavior does not transform the source object, only the tracking keyframes appear in the Keyframe Editor.
Important: Although the Stabilize behavior’s automatic analysis mode starts from the beginning of a clip (regardless of the playhead’s position), the analysis of other tracking behaviors begins at the current playhead position for all workflows. To define a tracking region, set an Out point for the tracked clip. If you are performing a reverse track analysis, set In and Out points for your track.
To use a Match Move behavior, you need at least two objects in your project: a background or source object and a foreground or destination object. The source object provides movement data based on a tracking analysis of its video or its animation attributes (keyframes or behaviors applied to a shape, for example). The movement from the source object is then applied to the destination object. The destination object can be a shape, text, particle emitter, and so on.
As you drag the tracker in the Canvas, the region around the tracker becomes magnified to help you find a suitable reference pattern. 7 Click the Analyze button in the HUD or Behaviors Inspector. The foreground element is tracked to the background element.
In the next example, Position, Scale, and Rotation are enabled in the Adjust row of the Behaviors Inspector. Consequently, the white elliptical shape changes its position, scale, and rotation based on the position of the two trackers, matching the camera’s push toward the picture frames and preserving the illusion that the shape is physically attached to the picture frame. Note: When using four-point tracking, scale and rotation are applied to the corner-pinned object.
The closest animation data (such as position or rotation changes caused by keyframes or behaviors) beneath the Match Move behavior in the Layers list is applied as the source and appears in the Source well. In this example, the spinning Magic Wand Shape is the source animation. The Source well and accompanying pop-up menu Important: Animated objects, tracking behaviors, and footage can be dropped in the Source wells. 2 Ensure that the Type parameter is set to Transformation in the Behaviors Inspector.
About Destination Object Animation You can use the Match Move behavior to apply the movement of a source object to a destination object. When a destination object has no animation of its own, it precisely follows the motion of the source object. However, if the destination object is animated (has its own applied behaviors or keyframes), more complicated motion effects can be achieved by combining motion paths.
Four-Corner Pinning with Match Move The Match Move behavior allows you to track four points on a background clip and apply the recorded motion to the four corners of a foreground object. There are two basic four-corner pinning workflows. In the first example, a foreground object is pinned to a background element using the four-corner trackers. This workflow is useful when the pinned image is the same size as the background reference patterns to be tracked.
In the Canvas, a tracker appears at each corner of the foreground object’s bounding box. In the Inspector, the default track list (Anchor and Rotation-Scale), is replaced with the Top Left, Top Right, Bottom Right, and Bottom Left trackers. As with the Analyze Motion trackers, when you drag a tracker to a new position in the Canvas, a magnified inset appears to help you position each tracker.
To fine-tune the track (when Four Corners is chosen from the Type pop-up menu), you might need to make minor adjustments to the foreground element, such as modifying its scale or rotation. When you choose the Attach to Source option from the Transform pop-up menu in the Behaviors Inspector, you cannot transform the tracked object. To transform the tracked object, choose Mimic Source from the Transform pop-up menu.
Tip: You can lower the opacity of the foreground object to better see the reference points on the background clip. You may also want to disable snapping so the image you are adjusting does not snap to the Canvas guidelines. To turn snapping on or off, choose View > Snap or press N. 4 Move the playhead to the frame where you want to start the track analysis, then apply the Match Move behavior to the foreground object. In the Canvas, a tracker appears at each corner of the foreground object.
Important: To move the tracker positions independently of the foreground object, choose Mimic Source from the Transform pop-up menu in the Behaviors Inspector. When Attach to Source is chosen from the Transform pop-up menu, the foreground image is distorted when you drag the trackers in the Canvas. 6 Click the Analyze button in the HUD or Behaviors Inspector. The foreground object is pinned to the background element.
Note: As an alternative to using masks, you can also crop an object with applied tracking data using Crop controls in the Properties Inspector. You can track the control points of a mask to a clip or apply existing tracking data to the control points of a mask. For more information, see Track Points Workflow.
To track reference points that are offset from the foreground image 1 Use one of the workflows described above (see Four-Corner Pinning with Match Move) to set up a four-corner pin using the Match Move behavior. 2 From the Transform pop-up menu in the Behaviors Inspector, choose Mimic Source. 3 In the Canvas, drag the trackers to the tracking markers. The image is not affected and remains locked to its original placement. 4 Click the Analyze button in the HUD or Behaviors Inspector.
Note: For four-point Analyze Motion and Stabilize operations, the trackers should be positioned in a clockwise order, starting in the upper-left corner. This ensures the proper alignment of your element when the transformation is applied. Track 1 Track 2 Track 3 Track 4 3 In the Behaviors Inspector, click Add to add a second tracker, then drag the second tracker (Track 2) to a reference pattern in the top-right corner of the background element.
Note: When using the Match Move behavior for four-point tracking, the trackers are placed in the correct order (clockwise from the top left) in the Canvas after Four Corner is chosen from the Type pop-up menu in the Behaviors Inspector. If you’ve used more than four trackers or you need to change the order of the trackers, choose a different order from the Top Left, Top Right, Bottom Right, or Bottom Left pop-up menus.
Note: Motion blur present in the image remains, even though the subject in the shot is smoothed or locked. To stabilize a clip using the Stabilize behavior 1 Apply a Stabilize behavior to the clip you want to stabilize. Note: Unlike other behavior workflows, the Stabilize behavior’s automatic mode analyzes the entire clip from its first frame, rather than from the current playhead position.
Note: For suggestions on correcting the black borders, see Removing Black Borders Introduced by Stabilizing. c Choose an option from the Direction pop-up menu: • Choose Horizontal and Vertical to apply the stabilize transformation to the X and Y dimensions. • Choose Horizontal to apply the stabilize transformation to the X dimension. • Choose Vertical to apply the stabilize transformation to the Y dimension.
To use the Stabilize behavior’s Track Region parameter 1 In the Stabilize parameters (in the Behaviors Inspector), select the Track Region checkbox. A transparent red overlay appears in the Canvas. 2 Do one of the following: • Drag in the region to change its position. • Drag a handle to resize the region. The corner handles simultaneously resize width and height; the top and bottom center handles resize height; the left and right center handles resize width.
2 If you don’t want to use the automatically selected Stabilize behavior, do one of the following: • In the HUD or Behaviors Inspector, choose a Stabilize behavior from the Action pop-up menu at the right of the Source well. • Drag an analyzed tracking behavior to the Source well in the HUD or Behaviors Inspector. The motion is applied to the destination object.
The behavior is added to the mask object, and trackers appear for each control point on the shape. The trackers are ordered in the same order that the shape was drawn: Control Point 1 is Track 1, Control Point 2 is Track 2, and so on. 3 Drag the trackers to fine-tune their position on the reference patterns. As you drag, a magnified inset view of the area around the tracker appears. 4 To disable a tracker, deselect its checkbox in the Behaviors Inspector.
In this example, a mask is tracked to a moving car so the car can be isolated from the rest of the clip. The illustration on the left shows the original unmodified clip. In the illustration on the right, the tracked mask isolates the car (and can be seen as the desaturated background), allowing separate effects to be applied to the car and its background even though they are part of the same image. The mask protects the car from the effects of the heavy blur and desaturation.
For more information about animating with keyframes, see Keyframes and Curves. For more information about Basic Motion behaviors, see Basic Motion Behaviors. 2 Apply the Track Points behavior to a nonanimated shape. The Track Points behavior inherits the animation data of the animated object closest to it in the Layers list. (A thumbnail of the animated object appears in the Source well of the Track Points Behaviors Inspector.) In this example, the Track Points behavior is applied to a Bezier shape.
4 To align the tangents to the transformation of the source object, select the Align Tangents checkbox in the Behaviors Inspector. Turning on Align Tangents The spinning animation of the line is applied to the Bezier shape. The tangents remain aligned at their original angles along the shape. Note: By default, Mimic Source is chosen from the Transform pop-up menu. For more information on the Transform pop-up menu, see Track Points Controls.
In this simple example, the center point of a circle blur is positioned over the license plate of a car. Note: To use a filter’s onscreen controls, select the filter in the Layers list, then choose the Adjust Item tool from the 2D tools pop-up menu in the toolbar. For more information on using filters, see Using Filters. 2 In the Filters Inspector, Control-click the Center parameter, then choose Add Parameter Behavior > Track from the shortcut menu.
The default onscreen tracker color is red. Depending on the color of your subject, you might need to change the color of the tracker to see the tracker in the Canvas. When the tracking analysis begins, a progress window opens and track points appear in the Canvas. The track points are the post-analysis motion path (the path that looks like a string of pearls) that appears in the Canvas. The track point at the current playhead position is emphasized.
As you drag in the preview area, the tracker in the Canvas also updates. Drag anywhere within the preview area If you use rotated footage, the rotation is not reflected in the Tracker Preview in the Inspector. The rotation is reflected in the magnified visual aid in the Canvas. • Click the track’s disclosure triangle at the bottom of the Behaviors Inspector, then use the Position controls to numerically adjust the tracker’s position.
To change the color of the onscreen tracker 1 Select the tracker and open the Behaviors Inspector. 2 Click the track’s disclosure triangle and use the Color controls to change the color of the tracker. The Color Well Strategies for Better Tracking Selecting a good tracking reference feature in a movie or image sequence is pivotal in achieving an accurate track. Tracking a single reference pattern with a single analysis pass rarely yields a perfect result.
The track point at the playhead position is highlighted. 2 Do one of the following: • Drag the highlighted track point in the Canvas to adjust its position. • Drag in the Tracker Preview area in the Behaviors Inspector. For fine-tuning, you can zoom in and out of the clip using the Zoom tool. The zoom follows the pointer, so place the pointer on the track point in the Canvas and drag right to zoom in. Drag left to zoom out of the clip.
Tip: When dealing with multiple problem trackers, you can turn off the trackers you are not correcting to simplify the Keyframe Editor. Additionally, when fine-tuning tracks in the Keyframe Editor, you can simplify what appears in the graph. The following image displays all curves for a simple four-corner pin. To solo a curve, Option-click the parameter’s checkbox in the Keyframe Editor’s parameter list. Deleting Track Points in the Canvas Bad track points can also be deleted in the Canvas.
4 Do one of the following: • Press Delete to delete the track point at the current position of the playhead. • Move the playhead to the frame where you want to begin deleting track points, and press Delete. Only active keyframes are deleted. To delete bad track points in the Canvas after analysis is complete 1 With the tracking analysis complete and the tracking behavior selected, move the playhead to the frame with the track point (or start of the track points) you want to delete.
The Reduce Keyframes dialog appears. Reduce Keyframes applies a thinning algorithm to the keyframes for the parameter. This reduces the number of keyframes while attempting to maintain a similar shape to the curve. The thinning algorithm can be adjusted in two ways. Increasing the Error Tolerance results in fewer keyframes. Increasing the Smoothing (frames) makes smoother curves between keyframe values.
The track is averaged, indicated by the simplified curve that appears behind the keyframes in the Keyframe Editor. For more information on using the Average parameter behavior, see Average. Converting Tracks to Keyframes Tracking data recorded or referenced by the Match Move, Stabilize, or Unstabilize behavior can be “baked” into keyframes on the transformed object. The tracking keyframes are applied to the tracked object and the behavior is deleted.
The suggested reference points appear in the Canvas on the footage and in the magnified inset as small red plus signs. When you move a tracker toward a suggested point, the tracker snaps to the point. The suggested points are not necessarily ideal tracking reference points for the feature you want to track in the clip. Motion is merely picking locations in the current frame that meet the track point criteria, such as an area of high contrast.
In the following image, the tracker is positioned on a reference pattern on the front bumper of the car. Tracker 3 In the Behaviors Inspector, use the Look Ahead Frames slider or value slider to specify how many frames you want the tracker to look ahead. Note: The maximum default for the Look Ahead Frames slider is 10 frames. However, you can enter a larger frame amount using the adjacent value slider.
Manually Coaxing Your Track with Keyframes When dealing with more challenging tracks, you can manually insert track position keyframes to help guide the tracker towards a reference pattern. For example, if you have a footage with significant motion blur or objects that partially obscure the tracking pattern, you can manually create tracker position keyframes to help guide the tracker.
5 In the Behaviors Inspector, click the disclosure triangle for the track you have adjusted, then choose Use Existing Keyframes from the Fail Behavior pop-up menu. 6 Go to the first frame of the clip, then click the Analyze button in the behavior HUD or Inspector. Note: You can also use the Tracker Preview in the Behaviors Inspector to reposition trackers in the Canvas. Important: Even though keyframes are created, you must analyze the footage to obtain the tracking data.
In the following example, the track is obscured by a tree, so the tracker is moved to a nearby reference pattern, and tracking continues until the original pattern reappears. Even though one region is examined, the points are saved in another region. The second tracking pattern should travel in the same direction as your original pattern. To offset (move) the onscreen tracker control to an unobstructed area of the image 1 Go to the frame where you want to begin the offset track.
2 Select the Offset Track checkbox in the HUD or Behaviors Inspector. Note: The Offset Track parameter is available in the Analyze Motion, Match Move, Stabilize, Track Points, and Track Parameter behaviors. Before the parameter becomes available in the Stabilize behavior, you must add a tracker using the Add button in the Inspector. 3 Drag the tracker to a new, unobscured reference pattern in the Canvas. 4 Click Analyze to restart the motion analysis.
Keeping It Real The automatic motion analysis (analysis without trackers) used by the Stabilize behavior works best with real images. Artificial images, such as those with no texture, are not recommended for use with the Stabilize behavior’s automatic mode. Shots with very strong pans are also not recommended. Adding Trackers to the Stabilization If a stabilized clip has a bumpy section that is not getting smoothed, you can add trackers to noncontiguous sections of a clip.
Reanalyzing at a Higher Quality When analyzing, choose Better from the Quality pop-up menu in the Behaviors Inspector. This may take longer, but the quality of the analysis is higher. Editing the Analysis Data If neither of the prior solutions helps, look at the Analyze.Confidence parameter in the Keyframe Editor, then look for frames where the Confidence parameter falls to very low values. You can convert the Stabilize behavior to keyframes to create transform keyframes on the stabilized object.
Distorting the Edges One last suggestion is to experiment with filters to stretch the edges of the image to fill gaps. For example, you can experiment with the Scrape filter to stretch the edges of the image. This solution is highly dependent on the type of image and may introduce other image artifacts that may not be acceptable. In the following image, a large border is created when the clip is stabilized. Next, a Scrape filter is applied to the group in which the stabilized clip resides.
General Tracking Guidelines The Motion tracker uses the source image for its tracking analysis. This means that the tracker uses the best search area, the best color, the best contrast, subpixel accuracy, and so on in the clip to generate the best possible tracking data. Common tracking strategies, such as using filter tricks, manually resizing a tracking box or search area, or specifying a subpixel sampling amount are not required. This does not mean that you do not need work to achieve a perfect track.
Corner-Pinning Groups You can corner-pin groups using the Match Move behavior: • To corner-pin a 2D group, select the Fixed Resolution checkbox in the Group Inspector. • To corner-pin a 3D group, select the Flatten checkbox in the Group Inspector. If Flatten is not enabled for the group, the Four Corners option is not available from the Type pop-up menu in the Match Move parameters.
To add a group to a project from the Library 1 Open the Library and select the category that contains the group. 2 Do one of the following: • To nest the group in an existing group, drag it to the existing group in the Layers list. • To create a group, drag it to an empty area in the lower portion of the Layers list. The group is added to the project. To apply a behavior to a clip from the Library 1 Open the Library and select the Favorites, Favorites Menu, or Behaviors category.
Important: The Analyze Motion behavior can only be applied to footage objects (a QuickTime movie or image sequence). Parameters in the Inspector Movement: The Movement parameters contain the Analyze and Reverse controls. • Analyze: This button, when clicked, begins the motion tracking analysis. When you click Analyze, a status window appears and displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc.
Note: When None is chosen from the Auto-Zoom pop-up menu, the Auto-Zoom Mode setting has no effect. Look Ahead Frames: This slider and value slider allow you to specify the number of future frames to be analyzed by the tracker. In other words, you can direct the tracker to look in a specific location for its reference point. This is useful for footage that contains fast-moving objects, because the reference point can quickly get away from the tracker.
• Predict: The tracker predicts a new search area without creating keyframes until it finds a match for the reference pattern. This is excellent for tracked objects that pass behind foreground objects. • Predict and Key: If a failure is detected, the tracker predicts the location of the keyframe based on a vector of the last two keyframes, and continues tracking in the new area. • Don’t Predict: The tracker remains in its position and searches for subsequent matches as the clip’s frames progress.
Note: When the Match Move behavior is applied to a mask, the masked object is selected as the source. Action menu: Choose from a list of tracking data (from other tracking behaviors) in the project. Movement: The Movement parameters contain the Analyze and Reverse controls, which appear when there is a tracking source (footage) in the source well. • Analyze: Click the Analyze button to begin the motion tracking analysis. When you click Analyze, a status window appears and displays the tracking progress.
Transform: This pop-up menu sets how the destination object (the object to which the Match Move behavior is applied) moves. There are two options: • Attach to Source: This option anchors the foreground object to the recorded track or animation source. Use Attach to Source when the source object is scaling or rotating, and you want the destination object to stick to a spot on the source object.
• Mimic Source: This option allows the destination object to mimic the recorded track or animation source. Any animation that existed on the foreground object before applying the track can be added to the track by selecting Position, Rotation, or Scale in the Adjust parameters. Note: As with Attach to Source, the position of the destination object can be changed (offset from the source object). Additionally, the destination object can be scaled and rotated.
Offset Track: This parameter appears only when there is a tracking source (footage) in the source well. If a tracker’s reference point becomes temporarily hidden or goes off the screen, this parameter allows you to select a different reference point that continues the same tracking path as the original reference point. For more information on offset tracking, see Tracking Obscured or Off-Frame Points Using Offset Tracking.
Click the Anchor or Rotation-Scale disclosure triangles to reveal additional parameters: • Position: Displays the X and Y positions of the tracker. The X position is the value slider on the left; the Y position is the value slider on the right. Click the disclosure triangle to display labeled position value sliders. • Track Size: Use this slider to adjust (in pixels) the pattern search size for the tracker. As you adjust the track size, the Tracker Preview is updated to show the new track size.
• Color: Click or Control-click the color well to set a color for the onscreen tracker. You can also click the eyedropper and select a color in the Canvas. The default tracker color is red. When a tracker is selected, its center point is yellow and the border of its magnified inset is the color set in the color well. To adjust the individual color channels, including the tracker’s opacity, click the disclosure triangle.
Bottom Right: Available when four-point tracking is enabled (when Four Corners is chosen from the Type pop-up menu) and the Match Move behavior references another behavior (such as Analyze Motion), this pop-up menu allows you to select the tracker from the referenced behavior you want to apply as the bottom right tracker.
Parameters in the Inspector Source: To clear a Source well, drag the item away from the well and release the mouse button. Drag a source object for the behavior to this well. The source object can be another Stabilize behavior or a footage object. Action pop-up menu: Choose from a list of tracking data (from other tracking behaviors) in the project. Note: When you select an option from the Action pop-up menu, the Add button, which allows you to add trackers, becomes unavailable.
Translation Smooth: When Method is set to Smooth, use this slider to smooth motion in the X and Y dimensions. Rotation Smooth: When Method is set to Smooth, use this slider to smooth image rotation. Scale Smooth: When Method is set to Smooth, use this slider to smooth an uneven zoom. Note: Don’t set the Scale Smooth above 0 unless you’re positive that the clip is being zoomed.
After a tracker is added to a Stabilize behavior, the following occurs: • The Track Region parameter is no longer available. • The Reverse checkbox becomes available, allowing you to track a clip backwards. • The Tracker Preview, Offset Track, Auto-Zoom, Auto-Zoom Mode, Look Ahead Frames, and track list controls become available. For more information, see Analyze Motion Controls. Note: When another behavior is used as the source for the stabilization, you cannot add trackers to the Stabilize behavior.
Track Points Controls The Track Points behavior allows you to link the control points of a shape or mask (including paint strokes) to reference features on a source clip. This behavior also allows you to apply tracking data recorded by the Analyze Motion, Match Move, or Stabilize tracking behaviors to the control points of a shape or mask.
Movement: The Movement parameters contain the Analyze and Reverse parameters. This parameter appears only when there is a tracking source (footage) in the source well. • Analyze: Click the Analyze button to begin the motion tracking analysis. A status window appears and displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc. The start of the track is based on the current playhead position, rather than the start of the behavior in the Timeline.
Look Ahead Frames: This parameter appears only when there is a tracking source (footage) in the source well. This slider and value slider allow you to specify the number of future frames to be analyzed by the tracker. In other words, you can direct the tracker to look in a specific location for its reference point. This is useful for footage that contains fast-moving objects, because the reference point can quickly get away from the tracker.
• Stop: The analysis stops when the tracker loses the reference pattern. You can also click the Stop button in the tracking progress dialog or press Esc to stop an analysis. • Predict: The tracker predicts a new search area without creating keyframes until it finds a match for the reference pattern. This is excellent for tracked objects that pass behind foreground objects.
The Track parameter behavior can be found in the Behaviors’ parameter subcategory in the Library, or by choosing Parameter > Track from the Add Behavior pop-up menu in the toolbar. For a description of the Tracker Preview, Offset Track, Auto-Zoom, Auto-Zoom Mode, Look Ahead Frames, and track list parameters, as well as tracker subparameters, see Analyze Motion Controls. For information on using the Track parameter behavior, see Track Parameter Workflow.
The start of the track is based on the current playhead position, rather than the start of the behavior in the Timeline. Reverse: Click the Reverse checkbox to analyze the clip in reverse, from the current playhead position to the first frame of the clip (or the first frame of the tracking behavior). Note: You must move the playhead to the frame where you want to begin the reverse analysis.
Click the disclosure triangle next to the track name to reveal additional parameters: Position: Displays the X and Y positions of the tracker. The X position is the value slider on the left; the Y position is the value slider on the right. Click the disclosure triangle to display labeled position value sliders. Track Size: Use this slider to adjust (in pixels) the pattern search size for the tracker.
Color: Click or Control-click the color well to set a color for the onscreen tracker. You can also click the eyedropper and select a color in the Canvas. The default tracker color is red. When a tracker is selected, its center point is yellow and the border of its magnified inset is the color set in the color well. To adjust individual color channels, including the tracker’s opacity, click the disclosure triangle.
Working with Audio 23 Sound is an integral part of many motion graphics projects. Use audio in your project for background music, dialogue, or scratch tracks. This chapter covers the following: • About Audio in Motion (p. 1363) • Audio Files in Motion Projects (p. 1364) • Working with Audio Tracks (p. 1372) • Keyframing Level and Pan Changes (p. 1378) • Crossfading Audio Tracks (p. 1379) • Syncing Audio and Video Tracks (p. 1379) • Retiming Audio (p. 1379) • Using Markers with Audio (p.
At the bottom of the Audio list, a Master track provides controls for the overall mix (all audio tracks combined into one), with its own set of controls for controlling volume, pan, muting, and audio linking. Individual audio tracks Master mix track You can export audio with video, or export audio alone, in various formats. Audio Files in Motion Projects You can add different kinds of audio files to a Motion project.
When you add an audio file to your project, Motion converts it to its own internal format. This allows you to use audio files with different formats, sample rates, and bit depths in the same project. When you export your project, the audio is exported according to the current audio settings in the Export dialog. Previewing an Audio File You can listen to, or preview, an audio file in the File Browser before adding it to a project. µ To preview an audio file In the File Browser, select an audio file.
The audio file is added to the project and appears in the Audio Timeline, Audio list, mini-Timeline, and Media list. To add an audio file from iTunes 1 In the Library, select the Music category. 2 Select a playlist, then select a song in the file stack. 3 Do one of the following: • In the preview area, click Apply. • Drag the file to the Layers list, Canvas, Timeline, Audio Timeline, or Audio list. Note: Rights-protected AAC files cannot be imported into Motion and do not appear in the file stack.
The audio track from the movie is added to your project, without the video footage. The video footage is added to the Media list. If the QuickTime movie contains multiple audio tracks, drag the file over the Audio list, the Canvas, or the Timeline layer list, holding down the mouse button until the drop menu appears. To import the file with a single audio track, choose Mix To Stereo. To import the file with individual tracks, choose Import All Tracks.
When you choose Mix To Stereo, the file appears in the Audio list as a single audio track and the video appears in the Canvas (and Layers list). The link icon in the Audio list (next to the lock icon) indicates that the audio object has a corresponding video element. Activation checkbox Name field Level slider Pan dial Mute Solo Link Lock Output channel pop-up menu Note: When a stereo QuickTime file is imported without using the drop menu, Mix To Stereo is the default import method.
When you choose Import All Tracks from the drop menu, the file appears in the Audio list with an individual audio track for each track in the file. The following image shows the Audio list after importing a stereo QuickTime movie file using the Import All Tracks option, with the resulting left and right tracks. To import a multitrack QuickTime movie file using the Import command 1 Choose File > Import (or press Command-I). 2 In the Import File dialog, select the QuickTime file.
µ To view the waveform of an audio track Select an audio file or channel of a multichannel file in the Audio list, then do one of the following: • Click the Show/Hide Audio Timeline button in the lower-right corner of the Motion project window. The Audio Timeline opens (in the Timing pane), displaying a green bar containing the waveform of the file, if the Audio Timeline row size is tall enough. If the bar does not show a waveform, adjust the height of the tracks.
µ To cut an audio track In the Audio list, select the audio track, then do one of the following: • Choose Edit > Cut (or press Command-X). • Control-click the track, then choose Cut from the shortcut menu. µ To copy an audio track In the Audio list, select the audio track, then do one of the following: • Choose Edit > Copy (or press Command-C). • Control-click the track, then choose Copy from the shortcut menu.
Working with Audio Tracks When you add an audio file to your project, Motion creates one or more audio tracks for the file. In the Audio list of the Project pane, you can turn audio tracks on and off, select tracks, mute and solo tracks, and control their volume and pan settings. Activation checkbox Name field Level slider Pan dial Mute Solo Link Lock Output channel pop-up menu Important: Changes you make to an audio track, such as renaming or trimming it, do not affect the source audio file.
• To unlink a track: Click the link icon. Unlinked audio can be moved independently of its accompanying video track in the Timeline. Click the link icon again to relink it to the same video track it was originally linked to. If you’ve offset its position in the Timeline, the offset is maintained when the audio track is linked again. • To lock a track, preventing it from being edited: Click the lock icon on the right side of the track. Click the lock icon again to unlock the track.
Working with the Master Track Each project has a Master audio track. The controls for the Master track are located at the bottom of the Audio list, below the individual audio tracks. Using the Master track’s controls, you can make changes that affect the final mixed output of all audio tracks. For example, you can lower the volume of all tracks at once, or pan all tracks to the left or right. In addition, you can turn the Master track on or off, or mute it.
If either of the two red dots above the level meters (called clipping indicators) lights up during playback, this indicates that your master levels are too high, causing audio distortion or clipping. Preventing Clipping Typically, when working with digital audio, audio engineers set the overall volume level as high as possible without causing clipping.
Slipping and Sliding Audio Tracks When you import an audio file, its start point is placed at the start of the project or at the current playhead position (depending on the setting of the Create Layers At parameter in Motion preferences). You can slide an audio track in the Audio Timeline or mini-Timeline so the track starts playing at a different point in time. And you can slip a trimmed audio track in the Audio Timeline or mini-Timeline so a different range of media plays at the same location.
As you drag, a dimmed bar representing the full range of the audio clip appears over the green bar, and a tooltip appears, showing the In and Out points for the track. Note: You can only slip media that has had its In or Out points trimmed. Trimming Audio Tracks You can edit the start and end points of an audio track to cut down the length of the audio in the track, or to start or it end at a specific point in time. This is called trimming the track.
µ µ To scrub an audio track Hold the Option key down while dragging the playhead right or left in the mini-Timeline or Audio Timeline. Pausing the pointer in the middle of a drag while holding the Option key down loops the five frames adjacent to the current frame. Note: Audio looping while scrubbing is turned on by default. You can turn off looping by choosing Motion > Preferences, clicking the Time icon, then deselecting the “Loop audio while scrubbing” checkbox.
To edit, add, or remove keyframes for animated Level and Pan settings, use the Audio Timeline or Keyframe Editor. For more information on working with the Keyframe Editor, see Keyframes and Curves. For more information on editing keyframes in the Audio Timeline, see Displaying and Modifying Keyframes in the Timeline. Crossfading Audio Tracks In the Keyframe Editor, you can view the audio tracks in your project, along with the Level and Pan curves for each track.
Timing Controls in the Inspector Each audio object has timing parameters in the Properties Inspector. Speed: Sets the speed of the audio clip as a percentage. The default is 100%. Values lower than 100 play the audio clip more slowly than its original speed, and also extend the Duration of the audio clip. Values higher than 100 play the audio clip faster than its original speed, and shorten the Duration of the audio clip. In: Sets the In point of the audio clip.
As you drag, a tooltip displays the clip’s duration and speed. To lengthen the audio clip’s duration and slow its playback 1 In the Audio Timeline, position the pointer over the end of the green bar. 2 Holding down the Option key so the retiming pointer appears, drag the end of the green bar to the right. As you drag, a tooltip displays the clip’s duration and speed. Looping an Audio Clip Another way of extending a clip’s duration is by looping it.
Using Markers with Audio When you add project markers to the Timeline, they appear in the Timeline and Keyframe Editor. You can use project markers to designate “hit points” as you play the project, to jump to a specific point, or to highlight points to synchronize visual and audio events. For information on adding and deleting markers, moving markers, editing marker information, and using markers, see Adding Markers.
Volume: A pop-up menu that sets how audio levels are affected during the pan. Choose from four options: • Ramp Up: An animation curve that creates a constant increase in volume • Ramp Down: An animation curve that creates a constant decrease in volume • Crescendo: A logarithmic animation curve that creates a slowly accelerating increase in volume • Decrescendo: A logarithmic animation curve that creates a slowly decelerating decrease in volume Gain: A slider that sets the target gain used for volume.
End Offset: A slider that sets the number of frames from the end of the audio before which the animation stops. Adjust this parameter to make the behavior end before the end of the audio track. HUD Controls The Audio Fade In/Fade Out behavior has a custom control, shown below. Note: The Audio Fade In/Fade Out HUD control is identical to the Fade In/Fade Out Basic Motion behavior.
• Drag the audio clip (or video clip with audio) from the Media list (in the Project pane) to the Source Audio well in the Behaviors Inspector. To apply the Audio parameter behavior via the shortcut menu 1 In the Audio list, select the track. 2 In the Audio Track Inspector, control-click an audio parameter (such as Level), then choose Audio from the Add Parameter Behavior submenu of the shortcut menu. The Audio parameter behavior is added to the project. However, no Source Audio is yet applied.
Audio Graph: A graph displaying a visual representation of the Source Audio data analyzed by the behavior per frame. During playback initiated by the Play button beneath the Audio Graph, the selected Source Audio data appears. If audio analysis is being performed, a progress bar appears in the Audio Graph area. The values of Low Frequency, High Frequency, Floor, and Ceiling can be set by dragging the small triangles along the bottom or right side of the graph.
Note: The examples below are for reference only. Because the audio behavior does not generate keyframes, you won’t see keyframes in the Keyframe Editor. • Sharp: Each peak of the animation curve is described by three keyframes with a straight line drawn between them. A selected keyframe has no tangent handles. • Smooth: Each peak of the animation curve is drawn by a single keyframe with a Bezier curve. A selected keyframe has a tangent handle to change the shape of the curve.
Attack: The animation curve shows the amount of the offset in frames between the first keyframe of the curve and the peak of the curve generated by the Audio behavior. The number of frames that the curve takes to reach its peak from its initial value is called the Attack. This parameter is only available if Respond To is set to Transients.
Sharing Motion Projects 24 When you are ready to distribute your project, there are many possible output options, found in the Share menu. These options generate a file (or files) that contain a rendered version of your project. This chapter covers the following: • Share Menu (p. 1389) • Render Options for Sharing (p. 1390) • Sharing to Apple Devices (p. 1391) • Sharing to Disc or Creating a Disk Image (p. 1393) • Sharing to Podcast Producer and Email (p. 1396) • Sharing to Video Sharing Sites (p.
To further customize your output file or to spread the processing work across multiple computers, you can use the settings for Compressor, the professional transcoding application. Share menu item Use to Apple Devices Play your project in iTunes; on iPhone, iPad, and iPod; and on your home theater system using Apple TV. DVD, Blu-ray Burn your project to a standard-definition DVD or to a high-definition Blu-ray-compatible disc, or create a disk image (.
Note: Only some codecs support embedded alpha channels. If you’re outputting to a codec that doesn’t support alpha channels, no alpha channel is saved, regardless of the option you choose in this pop-up menu. Premultiply Alpha: When the project's background color is black, select this checkbox to mix (via multiplication) semitransparent pixels with the project’s background in the exported file. Render Quality: Use this pop-up menu to choose a Render Quality: Best, Normal, Draft, or Custom.
To choose an Apple device format for sharing 1 Choose Share > Apple Devices. 2 In the Share window, click an Apple device shown at the top. 3 Select “Add to iTunes” if you want the shared file added to your iTunes library. 4 When the device you clicked appears at the center of the window, click Share. The time it takes to output a project depends on the size of the movie and whether you render more than one movie size at once. To monitor the render progress, use Share Monitor.
For more information about background rendering, see Background Rendering. 8 To see details about files to be output, open the Summary pane. 9 When you’re satisfied with the settings, click Share. The time it takes to output the project depends on the size of the movie, the number of movie sizes being rendered, and the Render settings you selected. You can monitor the render progress using Share Monitor. For more information, see About Share Monitor.
3 From the Layers pop-up menu, choose whether to burn a single-layer or dual-layer disc. Important: Selecting “Dual-layer” when using a single-layer disc can result in an error during burning, depending on the project’s length. 4 Choose an available template from the “Disc template” pop-up menu. 5 Enter the name of the disc in the Title field. By default, the name of the disc is the project name.
2 In the window that appears, choose a file destination from the “Output device” pop-up menu. The pop-up menu displays your system’s suitable output devices, including optical drives and the computer’s hard disk. Each device is identified by the type of output it supports (Blu-ray or AVCHD). To create a disk image (.img) file that you can copy to an external drive or burn to Blu-ray media later, choose Hard Drive. 3 From the Layers pop-up menu, choose whether to burn a single-layer or dual-layer disc.
Important: If you click Burn before inserting a dual-layer destination disc, Motion assumes it is a single-layer disc, resulting in only half the disc being used, and poorer-quality video. • If you’re creating a disk image file: Choose Hard Drive (Blu-ray) from the Output device pop-up menu, click Next, enter a name for the file, choose a location, then click Save. Important: By default, the Share feature assumes single-layer media for disk images and adjusts the bit rate accordingly.
8 Choose compression and duration options for the render: • Choose a rendering quality from the Compression pop-up menu: “Faster encode (single pass)” when you are willing to sacrifice quality for faster processing, or “Better quality (multi-pass).” • If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 9 To specify additional Motion-specific options, click Render.
Important: Many email services limit the file size for attachments. If the message exceeds the maximum size allowed by your email provider, the message size in Mail appears in red, along with the allowed limit (if Mail can get that information from the email provider). 8 To see the attachment’s estimated file size, choose your preferred Size and Compression options, then click Summary. 9 Click Compose Message.
4 Choose a movie size from the Size pop-up menu or, to have Motion choose the size based on your project’s media, select the “Set size automatically” checkbox. 5 Choose a rendering quality from the Compression pop-up menu: “Faster encode (single pass)” when you are willing to sacrifice quality for faster processing, or “Better quality (multi-pass).
6 If you’ve set In and Out points in the Timeline, use the Duration pop-up menu to choose whether to export the sequence or the portion between the In and Out points. 7 To specify additional Motion-specific options, click Render. For more information about the options available in the Render pane, see Render Options for Sharing. 8 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 9 To see details about files to be output, click Summary.
For more information about the options available in the Render pane, see Render Options for Sharing. 8 To use background rendering, click Advanced. For more information about background rendering, see Background Rendering. 9 To see details about files to be output, click Summary. 10 Click Next, read the terms of service, then click Publish. Your project is rendered and uploaded to Vimeo. The time it takes depends on how long your project takes to render and on website traffic.
Your project is rendered and uploaded to CNN iReport. The time it takes depends on how long your project takes to render and on website traffic. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. Exporting QuickTime, Audio, and Image Sequence Media You can export your project as a movie file using the Export Movie command in the Share menu.
Important: The Export Movie command does not use background rendering, so you must wait until rendering is finished before you can continue to work in Motion. To export selected objects from your project as a movie file 1 Select objects in the Layers list or the Timeline. If nothing is selected, the Export Selection to Movie command won’t work. 2 Choose Share > Export Selection to Movie (or press Command-Option-E). 3 Choose an export format from the Export pop-up menu. This menu provides a list of codecs.
For more information about background rendering, see Background Rendering. 6 To see details about files to be output, click Summary. 7 Click Next. 8 Enter a name for the audio file, choose a location, then click Save. Your audio file is rendered and saved. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. Note: The number of audio files exported depends on the setting of output channel pop-up menu in the Master track area at the bottom of the Audio list.
Sharing to iMovie, GarageBand, and Other Apple Applications You can use a finished Motion project in another Apple application by exporting the project as a QuickTime movie. A movie exported to your Movies folder can be accessed through the Media Browser used in many Apple applications, including GarageBand, Pages, and Keynote. To share a Motion project to iMovie 1 Choose Share > Export Movie (or press Command-E). 2 Choose an export format from the Export pop-up menu. This menu provides a list of codecs.
For more information about options available in the Render pane, see Render Options for Sharing. 4 To see details about files to be output, click Summary. 5 Click Next. 6 Enter a name and choose a location for the saved file, then click Save. Exporting for HTTP Live Streaming Exports a QuickTime reference movie for web hosting that’s linked to a group of QuickTime movies compressed using different settings. You can choose how many and which compression settings you want to export.
Motion renders and saves your movie. To monitor the render progress, use Share Monitor. For more information, see About Share Monitor. Exporting Using Compressor Share menu options are configured to provide results that work well for common situations. However, at times you might need to customize the settings. Compressor, a professional transcoding application that works with Motion, gives you maximum control over media-conversion specifications and encoding workflows.
6 To see details about files to be output, click Summary. 7 Click Next. 8 Enter a file name, choose a location for the output files, then click Save. The Share Monitor window opens, your program begins rendering in the background, and a progress bar displays how much time remains. For more information, see About Share Monitor.
You can click the Share Monitor icon to monitor the progress of the rendering process that’s creating your output files. A number appears on the icon to show how many files are being rendered. If there is an issue during the rendering process, the Share Monitor icon bounces in the Dock. For more information on using Share Monitor, see Share Monitor Help.
A Appendix About Rasterization Some operations, as well as the application of specific filters or a mask, cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. This affects how the rasterized group interacts with other objects in the project. This appendix covers the following: • Groups and Rasterization (p. 1411) • Text and Rasterization (p. 1414) • Shapes and Rasterization (p. 1415) • Particles, Replicators, and Rasterization (p.
• Turning on the Crop parameter • Applying any filter • Adding a mask • Adding a light (if the 2D group the light is added to is nested in a 3D group) The following operations on a 3D group trigger the rasterization of that group: • Making blending changes • Applying specific filters For more information, see Filters and Rasterization.
Examples of 2D Group and 3D Group Rasterization The following examples show the effect of rasterization on the blend modes of 2D groups. In both examples, the lone elephant image, which is in the topmost group in the Layers list, overlaps a portion of the family of elephants image, which resides in a separate 2D group in the Layers list. In both examples, the lone elephant image has its Blend Mode parameter set to Vivid Light.
Text and Rasterization Because all text layers are contained in groups, rasterization affects how text interacts with other objects in your project. Note: Text can be rasterized independently of the group in which it lives. Doing this affects how the text interacts with objects in its own group. For example, applying a Circle Blur filter to text that exists in 3D space (such as text on a path) causes the text to no longer intersect with other objects in the same group.
In the next example, the 2D group that contains the text is rasterized—triggered in this case by selecting the Crop checkbox in the group’s Properties Inspector. The text’s Soft Light blend mode no longer interacts with the object beneath it (the tiger image) in the layer stack. Group 1 now appears with a rasterization frame around the group icon. For more information on rasterization with 2D and 3D groups, see Groups and Rasterization.
The following examples demonstrate how rasterization affects particles in 2D groups. In the first image, a nonrasterized 2D group that contains a particle emitter is set to the Add blend mode. The particles interact with the group beneath the emitter in the Layers list (the group containing the reddish texture). The particles blend with the pixels of the underlying group. In the next image, the group that contains the particle emitter is rasterized.
A 3D particle emitter can be rasterized independently of the group in which it lives. Consequently, the resulting particles may not interact as expected with objects inside the same group. For example, applying a Circle Blur filter to a particle emitter causes the particles to no longer intersect with other objects in the same group. The same operations that cause a 3D group to rasterize cause a 3D particle emitter to rasterize.
For more information on rasterization with 2D and 3D groups, see Groups and Rasterization. Filters and Rasterization The application of some filters can cause a group to be rasterized. When a group is rasterized, it is converted into a bitmap image. In 2D groups, the application of any filter causes rasterization. In 3D groups, the application of specific filters causes rasterization. For more information on rasterization and 3D groups, see Groups and Rasterization.
Sharpen All Sharpen filters force rasterization of 3D groups. Stylize • Add Noise • Bad Film • Bad TV • Circle Screen • Circles • Color Emboss • Crystallize • Edges • Extrude • Halftone • Hatched Screen • Highpass • Indent • Line Art • Line Screen • MinMax • Noise Dissolve • Pixellate • Relief • Slit Scan • Slit Tunnel • Texture Screen • Vignette • Wavy Screen Tiling All Tiling filters force rasterization of 3D groups. Time All Time filters force rasterization of 3D groups.
Shadows and Rasterization Rasterized 3D objects do not cast shadows. If you perform an action that causes a group to be rasterized (such as modifying the group opacity or enabling the glow setting for a text object) and you still want that group to cast a shadow, you must flatten the group. Flattened groups act as 2D layers and can cast and receive shadows as long as they are embedded in a 3D group.
B Appendix Video and File Formats In Motion, you can create projects that integrate many media types using various formats. Whether you’re using a Motion project preset or creating a custom setting, it’s important to know what distinguishes one video format from another. This appendix details the characteristics of video formats and explains the frame sizes, how interlacing works, the difference between square and nonsquare pixels, and which frame rates correspond to which video formats.
• DVCPRO - PAL • DVCPRO HD 1080i50, 1080i60, 1080p25, 1080p30, and 720p50, 720p60 • DVCPRO50 - NTSC • DVCPRO50 - PAL • Uncompressed 8- and 10-bit 4:2:2 • HDV 1080i50, 1080i60, 1080p24, 1080p25, and 720p24, 720p25, 720p30 • Motion JPEG • MPEG IMX 525/60 (30Mb/s, 40 Mb/s, 50 Mb/s) • MPEG IMX 625/50 (30Mb/s, 40 Mb/s, 50 Mb/s) • Photo - JPEG • Apple ProRes 4444 • Apple ProRes 422 (HQ) • Apple ProRes 422 • Apple ProRes 422 (LT) • Apple ProRes 422 (Proxy) • XDCAM HD 1080i50, 1080i60, 1080p24, 1080p25, 1080p30 (35
• PDF files Audio Formats You can import audio files with sample rates up to 192 kHz and with bit depths up to 32 bits. Mono and stereo files are supported. Multichannel audio files are also supported. Motion supports the following audio file types: • AAC (listed in the Finder with the .m4p file extension) • AIFF • CAF • WAV Important: You cannot import rights-managed AAC files, such as those purchased from the iTunes Store.
Apple ProRes The Apple ProRes family of codecs provides a variety of versatile, adjustable compression formats to serve nearly any post-production workflow. There are five different Apple ProRes codecs: from Apple ProRes 4444, which includes an alpha channel, to Apple ProRes 422 (Proxy), an offline format used by Final Cut Server for proxy movies.
DVCPRO HD A high-definition video format used to capture video digitally from FireWire-enabled DVCPRO HD compatible decks. (Not to be confused with DVCPRO 25 or DVCPRO 50, which are both standard-definition formats.) This format supports a number of frame sizes and frame rates, including a 24p format that offers variable speed via a variable frame rate technology. DVCPRO HD uses 4:2:2 color sampling for high color fidelity, and has a fixed data rate of 12.5 MB/sec.
Field order refers to the order in which each pair of video fields is recorded. Because video fields are recorded sequentially, it’s as if each 29.97 fps clip is really playing at 60 “frames” per second. There are two options for field order: • Upper (Field 2 is dominant, so the second field is drawn first.) • Lower (Field 1 is dominant, so the first field is drawn first.) Generally, Upper is used by 640 x 480 systems, while Lower is most common in professional 720 x 486 and DV 720 x 480 systems.
2 Create the graphic. 3 Do one of the following: • In your graphics program, rescale the graphic from the square frame size used to create it to the nonsquare equivalent used in Motion. • Save your image as is. In your Motion project, select the object in the Media list of the Project pane, open the Media Inspector, then choose the correct aspect ratio from the Pixel Aspect Ratio pop-up menu.
SD NTSC pixels are narrower than computer pixels and SD PAL pixels are wider than computer pixels. As a result, a 720 x 486 pixel image looks different on a computer display than it does on a video monitor. For example, if you capture a clip of video with a globe in the picture, export a frame, and look at this frame in a graphics application, you’ll see something like this: NTSC square vs.
Using Fonts and Creating Line Art for Video When creating line art or selecting a font to use in an interlaced broadcast video image, avoid creating horizontal single-pixel lines. Also avoid using fonts that are too thin. Because of the line-alternating nature of interlaced video, single-pixel lines flicker when the field in which they appear turns on and off.
Creating Graphics for HD Projects Creating graphics and still images for high-definition (HD) video projects follows the same process as for standard-definition video. Full-raster high-definition video formats use square pixels. You don’t have to worry about adjusting high-definition image dimensions before importing your graphics into Motion. To determine the image dimensions for your sequence, follow the guidelines below.
C Appendix Keyboard Shortcuts Use keyboard shortcuts to streamline your work in Motion. The tables in this appendix organize keyboard shortcuts by menu, component, and task. Some keyboard shortcuts are always active, whether you are working in the group that they are listed in, while other keyboard shortcuts are only active under special circumstances. Note: Some keyboard shortcuts described in this appendix may conflict with system commands assigned to the Mac OS X Finder.
• Miscellaneous (p. 1450) • HUD (p. 1450) • File Browser (p. 1451) • Inspector (p. 1451) • Keyframe Editor (p. 1451) • Layers (p. 1452) • Library (p. 1453) • Media List (p. 1453) • Timeline Editing and Navigating (p. 1453) • Keyframing Commands (p. 1455) • Shape and Mask Commands (p. 1456) • Toolbar (p. 1456) • 3D Commands (p. 1457) • Using the Command Editor (p.
Keyboard shortcut option Function N Open the project’s Properties Inspector. J Save a project. S shift S Import a file. I I E Undo the last change. Z Z Redo the last change. Cut. X Copy. C Paste. V Duplicate D Select all items. A shift Export a selection as a movie Print the current view of the Canvas. P shift Import a file as a project. Export movie. E option Save a project as a new project. Close a project. W shift Create a project from the Project Browser.
Keyboard shortcut Function Hide Motion. H option H Hide other open application files. Quit Motion. Q Play/pause a project. space Turn on/off animation recording. A Go to the start of a project. home Go to the end of a project. end Motion Menu Keyboard shortcut Function Open Motion Preferences. , Hide Motion. H option H Hide other open application files. Quit Motion. Q File Menu Keyboard shortcut Function Create a project. N option N Open a project. O Close a project.
Keyboard shortcut Function shift I shift P Import files as a project. Display Page Setup dialog. Print the current view of the Canvas. P option N option W shift P Create a project from a list of project presets. Close all open projects. Open the Page Setup window. Print the current Canvas view. P Edit Menu Keyboard shortcut Function Undo the last change. Z shift Z Cut. X Copy. C Paste. V option V Paste special. Duplicate. D Delete. delete shift Redo the last change.
Keyboard shortcut Function Find and replace. F option T Open the Special Characters window. Mark Menu Keyboard shortcut Function Mark In point. I Mark Out point. O shift { Move the selected object to the In point. shift } Move the selected object to the Out point. Add a project marker at the current frame. M Add a project marker at the current frame. option M option I option O option X shift L Open the Edit Marker dialog. Mark In point of play range. Mark Out point of play range.
Keyboard shortcut Function Go to the next frame. Go backward ten frames. shift Go forward ten frames. shift option K shift K Go to the previous keyframe. Go to the next keyframe. Go to the previous marker. option Go to the next marker. option shift I shift O Go to the selection in point. Go to the selection out point. Perform a RAM preview of the play range area. R option R shift option Perform a RAM preview of the current selection. R Perform a RAM preview for the whole project.
Keyboard shortcut Function Move the selected object down the Layers list by one level. [ shift G option G control T control S control I control L shift control control D shift control Ungroup a group of objects so you can manipulate the objects individually. Make an object active or deactivate an object. For an audio track, enable/disable the Solo button of the selected track. For an object, solo the object. Isolate the selected group or layer. Lock/unlock an object.
Keyboard shortcut shift Z shift V control A control P control C option control control R Function Zoom to fit in window. Show Full View Area. Set 3D View to Active Camera. Set 3D View to Perspective. Set 3D View to Next Camera. C Select the current active camera. Reset 3D Camera View. Fit the selected objects into view. F shift F Frame the selected object. Focus on the selected object.
Keyboard shortcut Function option control R option control D option M option F option control Enable/disable reflections in the Canvas. Enable/disable depth of field in the Canvas. Enable/disable motion blur in the Canvas. Enable/disable field rendering in the Canvas. B Enable/disable frame blending in the Canvas. Show Overlays. / R shift Show the rulers. Show/hide the grid. Show/hide the guides. ; : shift Show/hide the Dynamic Guides. Show/hide the Safe Zones.
Window Menu Keyboard shortcut Function Minimize the active window. M Show the Properties Inspector. F1 Show the Behaviors Inspector. F2 Show the Filters Inspector. F3 Show the Object Inspector. F4 Show/hide the Project pane. F5 Show/hide the Timing pane. F6 Show/hide the HUD. F7 Enter/Exit Player mode. F8 Show/hide the File Browser. 1 Show/hide the Library. 2 Show/hide the Inspector. 3 Show/hide the Layers list. 4 Show/hide the Media list. 5 Show/hide the Audio list.
Audio list Keyboard shortcut 6 control T control L control S Function Show/hide the Audio list. Make object active or inactive. Lock/unlock an audio file. Enable/disable the Solo button of a selected track. Move up one level in the Audio list. Move down one level in the Audio list. I Import. Tools The tools in the toolbar activate a number of contextual keyboard commands. Depending on the tool chosen, different keyboard commands are available.
Keyboard shortcut Function Press Shift-Option and drag the object handle. Scale an object proportionally from its center. Press Shift and drag the object rotation handle. Snap the rotation of an object to 45 degree increments. Q Activate 3D transform tool. Crop Tool Keyboard shortcut Function Press Shift and drag the object handle. Crop an object proportionally. Press Option and drag the object handle. Crop an object from its center. Press Shift-Option and drag the object handle.
Pan & Zoom Tools Keyboard shortcut H Z Press Option and click in the Canvas. Function Select the Pan tool. Select the Zoom tool. Zoom out with the Zoom tool selected. Rectangle & Circle Tools Keyboard shortcut R C Function Select the Rectangle Shape tool. Select the Circle Shape tool. Press Shift and drag in the Canvas. Draw a shape proportionally. Press Option and drag in the Canvas. Draw a shape from its center. Press Shift-Option and drag in the Canvas.
Keyboard shortcut Function Press Option and drag a tangent handle. Break or relink a tangent handle. Press Shift and drag a tangent handle. Constrain a tangent to 45 degree increments and original value. esc return Cancel shape drawing and delete the open shape. Exit shape-drawing mode. B-Spline Tool Keyboard shortcut B B C Function Select the B-Spline tool. Switch between the Bezier and B-Spline tools. Close the shape. Double-click a path. Add a point to the path.
Keyboard shortcut Function Press Option and the Up, Down, Left, or Right Arrow key. Move the insertion point to the next word. Move to the beginning of a line of text. Move to the end of a line of text. Press Shift and the Up, Down, Left, or Right Arrow key. Select characters from the insertion point. Press Shift-Option and the Up, Down, Left, or Right Arrow key. Select words from the insertion point. Press Shift-Command and the Up, Down, Left, or Right Arrow key.
Bezier Mask Tool Keyboard shortcut option B option B Function Select the Bezier Mask tool. Switch between the Bezier Mask and B-Spline Mask tools. Close mask. C Double-click a path. Add a point to the path. Press Command and click a path. Add a point to the path. Press Command and click a point. Convert a point to linear. Press Command and drag a point. Create tangents on a point. Press Command and drag a tangent handle. Scale tangents proportionally. Press Option and drag a tangent handle.
Keyboard shortcut Exit shape-drawing mode. return option Function B Select the Bezier Mask tool. Show/hide mask control points. Transport Controls Keyboard shortcut Play/pause a project. space Turn animation recording on or off. A shift Function L Enable/disable loop playback. Go to the start of a project. home Go to the end of a project. end shift home shift end Go to the start of the play range. Go to the end of the play range. Go to the previous frame. Go to the next frame.
Keyboard shortcut Function Press Command and drag in the Canvas. Zoom to region. Zoom to 100 percent. option Z shift Z shift C shift T shift option T shift option C shift R shift G shift B shift A shift option shift Q option F option M Zoom to fit in the Canvas. Show all color channels. Show the transparent channel. Show the alpha channel overlay. Show the RGB channels only. Show the red channel. Show the green channel. Show the blue channel. Show the alpha channel.
Keyboard shortcut Function Show/hide safe zones. Enable/disable snapping to guides. N Expose active layers. X shift Expose all layers. X Miscellaneous Keyboard shortcut Function Create a particle emitter. E shift M Import an image mask to the selected object. Select the next object above. Select the next object below. Press Command and the Up Arrow, Down Arrow, Left Arrow, or Right Arrow key. Nudge the selected objects one pixel.
File Browser Keyboard shortcut 1 O N Function Show/hide File Browser. Open project. New project. Show/hide Project pane. F5 Move up one item in the sidebar or file stack. Move down one item in the sidebar or file stack. Move left one item in the file stack. Move right one item in the file stack. Select first item in the file stack. space Move up one level in the folder hierarchy of the file stack. Inspector Keyboard shortcut 3 Function Show/hide the Inspector. Press the Up Arrow or Right Arrow key.
Keyboard shortcut Function Convert the applied behaviors to keyframes. K Fit visible curves. F Layers Keyboard shortcut shift Function N Create a group. ] Bring the object to the top of the group. [ Send the object to the bottom of the group. ] Bring the object up one level in the Layers list. [ Send the object down one level in the Layers list. shift G option G control T control S control I control L Place the selected objects in a new group.
Keyboard shortcut shift F Function Open the Media list and Inspector to reveal the source and properties of media objects. Clone the selected layer. K Library Keyboard shortcut 2 Function Show/hide the Library. Select the first item in the sidebar or file stack. space Move up one item in the sidebar or file stack. Move down one item in the sidebar or file stack. Move left one item in the file stack. Move right one item in the file stack. Move up one level in the folder hierarchy of the file stack.
Keyboard shortcut Function Nudge ten frames forward. shift Nudge ten frames backward. shift shift { Move the selected object to the In point. shift } Move the selected object to the Out point. Mark the In point of the play range. I Mark the Out point of the play range. O option X shift L option A shift home shift end shift I shift O Reset the play range by moving the In and Out points to the first and last frames of the project. Enable/disable loop playback.
Keyboard shortcut Function Mark an Out point. O Add a marker at the current frame. M Add a marker at the current frame. option M Play/pause the project. space Turn on/off animation recording. A Go to the start of project. home Go to the end of project. end Convert the applied behaviors to keyframes. K shift Open the Edit Marker dialog. Perform a ripple delete. delete option V Paste special. Keyframing Commands Keyboard shortcut Function Double-click a path. Add a point to the path.
Shape and Mask Commands Keyboard shortcut Function Press Shift and drag in the Canvas. Draw a shape proportionally with the Rectangle, Circle Shape, and Mask tools. Press Option and drag in the Canvas. Draw a shape from its center with the Rectangle, Circle Shape, and Mask tools. Press Shift-Option and drag in the Canvas. Draw a shape proportionally from its center with the Rectangle, Circle Shape, and Mask tools. Cancel spline drawing and delete the open spline.
Keyboard shortcut Function Select the Zoom tool. Z Select the Rectangle Shape tool. R Select the Circle Shape tool. C Switch between the Bezier and B-Spline tools. B Select the Text tool. T option R option C option B Select the Rectangle Mask tool. Select the Circle Mask tool. Switch between the Bezier Mask and B-Spline Mask tools. 3D Commands Keyboard shortcut Function Select the 3D transform tool. Q , Switch the 3D transform tool between position-only and universal. .
Using the Command Editor Motion provides menu commands and keyboard shortcuts that let you control almost every aspect of your project, from playback to displaying windows and inspectors to working with tools. The Command Editor lets you search or browse the commands and keyboard shortcuts in Motion. In addition, the Command Editor lets you customize keyboard shortcuts so you can streamline the way you work. This section covers how to modify keyboard shortcuts using the Command Editor.
Command Editor Interface The upper half of the Command Editor displays a virtual keyboard. The lower half contains a Command List that sorts menu commands by group and offers a brief description of each command, along with its associated key combination, if any. The virtual keyboard is color-coded to help you identify the type of command each key performs. For example, transport commands, such as Play (Space bar) and Record (A), are light blue, while alignment commands are pink.
Viewing Keyboard Shortcuts by Group The Command List displays several groupings of commands, organized by Motion menus as well as types of commands (Alignment, Tools, Transport, Go To, View, and Mark). Click a group to filter the Command list to display only the commands and keyboard shortcuts in that group. Selected group Searching for Commands Use the Search field in the upper-right corner of the Command Editor to locate a command or keyboard equivalent.
For example, in the image below, the search term “Ripple” returns two keyboard shortcuts for the Ripple Delete command, and the command keys are highlighted in the virtual keyboard. Note: When you turn on the Keyboard Highlight button, only command keys are highlighted. Modifier keys that may be part of the keyboard shortcut (Command, Shift, Option, and Control) are not highlighted.
Viewing Key and Command Details The window to the right of the Command List shows additional information about a selected key in the virtual keyboard or a selected command in the Command List. When you select a key in the virtual keyboard, this window displays a list of all keyboard shortcuts associated with that key. Selected key Commands associated with the selected key When you select a command in the Command List, this window displays a brief description of the command.
Now that you have a duplicate set of assigned keyboard shortcuts, you can modify the key settings to create new or modified shortcuts. To add or modify a keyboard shortcut 1 Using the Search field of the Command Editor, find and select the command you want to assign a keyboard shortcut to. Alternatively, you can find the command by browsing through the Command List. 2 Using your physical keyboard, press the combination of keys you want to use for the command (for example, Shift-Option-T).
2 Navigate to the location where you want to save the exported set, then enter a name in the Save As field. 3 Click OK. The file is saved in the location you chose, with the “.commandset” filename extension. To import a set of shortcuts 1 Do one of the following: • In the Command Editor, choose Import from the pop-up menu. • Choose Motion > Commands > Import. An Open dialog appears. 2 Navigate to the location where you stored a command set file, select it, then click Open.
D Appendix Using Gestures If you use a Wacom tablet and pen with your computer system, you can use gestures to navigate in Motion and to perform tasks such as editing, copying, pasting, and so on. Gestures are continuous, uninterrupted patterns drawn in the Motion user interface (using your tablet). Note: The supported tablet for using gestures in Motion is the Wacom Intuos tablet family.
The Gestures Preferences pane appears. Turn gestures on or off. Important: Gestures in Motion use the Inkwell technology in Mac OS X. To use gestures, you must enable Handwriting Recognition in Motion Preferences. If you cannot turn gestures on at this point, or perform the following steps, click Open Ink Preferences and follow the instructions in the section, Gestures in the Air. After you enable Handwriting Recognition, complete the following steps. 3 For “Gestures are,” ensure that On is selected.
2 For “Handwriting recognition is,” click the On option. Turn handwriting recognition on or off. By default, a “whoosh” sound is played when gestures are drawn. To disable the default gesture sound 1 Click the Options button in Ink Preferences. 2 In the Ink dialog, deselect “Play sound while writing.” Turn “Play sound while writing” on and off. Wacom Settings In the Mac OS X System Preferences for the Wacom Tablet, you can create customized tool settings for an application.
To customize pen buttons for a an application 1 In Mac OS X System Preferences for Wacom Tablet, click the Add button (+) in the Application row. 2 In the Select Application dialog, do one of the following: • If Motion is open, select it from the Currently Open Applications list. • If Motion is not open, click the Browse button, navigate to and select Motion, click Open, then click OK. The Motion application appears in the Selected Application field. 3 Click OK.
The Motion Gestures The following tables describe the available Motion gestures and their modifier keys, where applicable. Note: There is no defined minimum or maximum scale for the gestural input. The tolerance is defined by the Inkwell technology. However, the size at which gestures are drawn may affect the result of the gesture. For example, when using the fit-to-fill zoom gesture and you draw a large circle, the zoom amount is small. If you draw a small circle, the zoom is large.
Gesture Description Modifier keys Zoom out of the Canvas. To position the zoom out at the center of the gesture, press Option. Select the Zoom tool. To zoom in and out of the Canvas, move the pen left or right. The zoom is centered on the area where the pointer is placed in the Canvas. Select the Pan tool. Set the Canvas to Home (100 percent). Fit the Canvas in the window. Show or hide the Timing pane. Show or hide the Project pane. Show or hide the Inspector. Show or hide the File Browser.
General Commands The following table describes the gestures for general commands, such as undo, select, and copy and paste. Gesture Description Modifier keys Undo. Redo. Delete the selected object. Choose the Select/Transform tool. Show and hide the HUD. Copy. Paste. Note: The Paste command may be a bit tricky to master. Timeline Navigation and Editing Gestures The following table describes the gestures used for Timeline navigation and editing.
Gesture Description Modifier keys Go to the start of the play range. Go to the end of the play range. Go to the start of the project. Go to the end of the project. Go to the start of the selected object. Go to the end of the selected object. Group. Ungroup. Set a local In point for the selected object. 1472 Appendix D Using Gestures To move the In point to the playhead position, press Shift.
Gesture Appendix D Using Gestures Description Modifier keys Set a local Out point for the selected object. To move the Out point to the playhead position, press Shift. Bring the selected object forward in the stack. To bring an object to the front of the stack, press Shift. Send the selected object backward in the stack. To send an object to the back of the stack, press Shift. Add a project marker. • To edit a project marker, press Shift. • To clear a project marker, press Option.
