Apple MOTION 3 Owner's manual

Motion 3

User Manual

K

Apple Inc.

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3

1

Contents

Preface 9 Motion 3 Documentation and Resources

9

Onscreen Help

10

Apple Websites

Chapter 1 13 Getting to Know Motion

14

About Motion Graphics

18

About Motion

19

About the Motion Workspace

29

Toolbar

38

Canvas

67

Project Pane

84

Timing Pane

11 0

Utility Window

135

HUD

137

Preferences

158

Menus

Chapter 2 179 Creating and Managing Projects

179

Creating New Projects

191

Managing Projects

197

Editing Project Properties

198

Browsing Media Files in Motion

203

File Types Supported by Motion

213

Adding Media to Your Project

219

Managing Layers in Your Project

223

Deleting Objects from a Project

223

Exchanging Media in a Project

225

Object Media Tab Parameters

228

Using Media in the Library

233

Organizing Groups and Layers in Motion

250

Customizing and Creating New Templates

Chapter 3 257 Basic Compositing

259

Group and Layer Order

4

Contents

261

Object and Layer Transforms in the Canvas

283

Making Clone Layers

285

Editing Opacity and Blending

309

Drop Shadows

312

Retiming

Chapter 4 321 Using the Timeline

322

Getting Familiar with the Timeline

330

Working in the Timeline

341

Editing Objects in the Timeline

356

Working in the Ruler

362

Adding Markers

Chapter 5 369 Using Behaviors

373

Browsing for Behaviors

374

Applying and Removing Behaviors

387

Modifying Behaviors

389

Working with Behaviors

394

Changing the Timing of Behaviors

402

Animating Behavior Parameters

405

Saving and Sharing Custom Behaviors

408

Behavior Descriptions

483

Behavior Examples

Chapter 6 503 Keyframes and Curves

506

Animating in the Canvas

511

Animating with the HUD

516

Animating Using the Inspector

520

Animating in the Timeline

526

Animating in the Keyframe Editor

557

Animating on the Fly

Chapter 7 565 Using Text

566

Using Text in Motion

568

Setting Layer Duration Preferences

569

Working with Text

576

About Fonts

579

Using the Text Tools

584

Editing Text in the Inspector

648

Using Text Animation and Text Sequence Behaviors

676

Using Other Behaviors With Text

678

Using Behaviors to Animate Text in 3D

679

Animating Text with Keyframes

681

Using LiveFonts

Contents

5

Chapter 8 685 Working with Particles

687

Anatomy of a Particle System

689

Using Particle Systems

711

Creating Graphics and Animations for Particle Systems

712

Advanced Particle System Controls

736

Animating Objects in Particle Systems

740

Applying Filters to Particle Systems

741

Particle System Examples

750

Saving Custom Particle Effects to the Library

Chapter 9 753 Using the Replicator

755

Anatomy of a Replicator

759

Using the Replicator

780

Using Replicators in 3D

782

Applying Masks to the Replicator

783

Advanced Replicator Controls

815

Animating Replicator Parameters

821

Using the Sequence Replicator Behavior

836

Using Behaviors with Replicators

838

Applying Filters to Replicators

839

Saving Custom Replicators to the Library

Chapter 10 841 Using Filters

841

About Filters

842

Working with Filters

842

An Introduction to Filters

850

Working with Filters

953

Tiling Filters

963

Working with Third-Party Filters

Chapter 11 965 Working with Generators

965

About Generators

Chapter 12 997 Using Shapes and Masks

998

The Difference Between Shapes, Paint Strokes, and Masks

999

Shape and Mask Drawing Tools

1007

Creating and Editing Shapes

1030

Illustrating Using the Shape Tools

1031

Shape Parameters in the Inspector

1063

Animating Shapes

1082

Saving Shapes and Shape Styles

1087

Masking Layers to Create Transparency

11 0 4

Applying Image Masks to a Layer

6

Contents

11 0 8

Using Masks to Aid Keying Effects

111 2

Manipulating Alpha Channels Using Filters

Chapter 13 1117 Working with Audio

111 8

Audio Files in Motion Projects

11 2 6

Working with Audio Tracks

11 3 4

Keyframing Level and Pan Changes

11 3 9

Audio Behaviors

11 41

Audio Parameter Behavior

11 4 4

Using Soundtrack Pro with Motion

11 4 5

Exporting Audio

Chapter 14 1147 Exporting Motion Projects

11 4 8 Exporting Your Project

11 4 9 Using Export Presets

11 5 4 Setting Export Options

11 6 0 Export a Selection

11 6 0 Exporting with Compressor

11 6 4 Rendering a Project for iPod Playback

11 6 5 Exporting an Audio File

Appendix A 1167 Keyboard Shortcuts

11 6 7 General Interface Commands

11 6 9 Motion Menu

11 6 9 File Menu

11 7 0 Edit Menu

11 71 Mark Menu

11 7 3 Object Menu

11 74 View Menu

11 7 6 Window Menu

11 7 7 Help Menu

11 7 7 Audio Editor

11 7 8 Audio Tab

11 7 8 Canvas

11 8 7 HUD

11 8 7 File Browser

11 8 8 Inspector

11 8 8 Keyframe Editor

11 8 9 Layers

11 9 0 Library

11 9 0 Media Tab

11 91 Timeline

11 9 3 Keyframing Commands

Contents 7

11 9 3 Shape and Mask Commands

11 9 4 Toolbar

11 9 5 3D Commands

11 9 6 Using the Command Editor

Appendix B 1203 Video and File Formats

1203 Supported File Formats

1206 Standard Definition Versus High Definition Video Formats

1210 Popular Video Codecs for File Exchange

1212 What Is Field Order?

1213 Using Square or Nonsquare Pixels When Creating Graphics

1215 Differences in Color Between Computer and Video Graphics

1215 Using Fonts and Creating Line Art for Video

1215 Scaling Imported High-Resolution Graphics

1216 Creating Graphics for HD Projects

Appendix C 1217 Working with Final Cut Pro

1217 Using Motion with Final Cut Pro

1218 Importing a Motion Project into Final Cut Pro

1218 Making Changes to a Motion Clip in Final Cut Pro

1219 Restrictions When Working with Motion Clips in Final Cut Pro

1219 Sending Final Cut Pro Clips and Sequences to Motion

1222 Rendering Motion Projects for Use in Final Cut Pro

1223 Using Motion Templates in Final Cut Pro

1223 Creating a Template in Motion for Use in Final Cut Pro

1227 Master Templates in Final Cut Pro

Appendix D 1231 Using Gestures

Appendix E 1241 Using Motion and After Effects

12 41 Adobe After Effects integration

Index 1243

9

Preface

Motion 3 Documentation and

Resources

You can use Motion to create sophisticated motion graphics

content for broadcast and video. Discover all the resources

you can use to help you learn this versatile application.

This preface provides information on the documentation available for Motion, as well

as information about Motion resources on the web.

Onscreen Help

Onscreen Help (available in the Help menu) provides easy access to information while

you’re working in Motion. The Motion 3 User Manual is available here, along with other

documents in PDF and HTML format, including Motion Supplemental Documentation,

which contains in-depth information about 3D compositing and Motion Tracking

behaviors.

To access onscreen help:

m In Motion, choose an option from the Help menu.

User Manual

The Motion 3 User Manual contains detailed information about most features in the

application.

To access the user manual:

m In Motion, choose Help > Motion User Manual.

When the user manual is opened, the Motion 3 User Manual access page appears. The

Preview drawer on the side contains a list of links that allow you to locate specific

information in the user manual. Click any bookmark in the drawer to begin exploring

the user manual.

Links in the body of the access page provide an additional way to locate important

help and other documentation tools to assist you in learning and using Motion. Most of

these links are also available directly from the Help menu:

10 Preface Motion 3 Documentation and Resources

Supplemental Documentation

The Motion Supplemental Documentation PDF contains information about 3D

compositing, including the 3D workspace, lights, cameras and camera behaviors, and

rasterization. This document also discusses using the Motion Tracking behaviors.

To access the supplemental documentation, do one of the following:

m In Motion, choose Help > 3D and Tracking

m Go to http://manuals.info.apple.com/en/Motion_Supplemental_Documentation.pdf

Release Notes

The Release Notes contain information about issues with third-party hardware and

software, and known bugs. It also contains information about any new features or

changes to the software that occurred after the Motion 3 User Manual was completed.

To access Release Notes:

m In Motion, choose Help > Release Notes.

New Features

The New Features document briefly describes what’s new in the latest version of

Motion, as well as where to find detailed information about those features in the user

manual or Motion Supplemental Documentation.

To access the New Features document:

m In Motion, choose Help > New Features.

Apple Websites

There are a variety of discussion boards, forums, and educational resources related to

Motion on the web.

Motion Websites

The following websites provide general information, updates, and support information

about Motion, as well as the latest news, resources, and training materials.

For information about Motion, go to:

Â http://www.apple.com/finalcutstudio/motion

To get more information on third-party tools, resources, and user groups, go to:

Â http://www.apple.com/finalcutstudio/resources

For information on the Apple Pro Training Program, go to:

Â http://www.apple.com/software/pro/training

Preface Motion 3 Documentation and Resources 11

To provide comments and feedback to Apple about Motion, go to:

Â http://www.apple.com/feedback/motion.html

Apple Service and Support Website

The Apple Service and Support website provides software updates and answers to the

most frequently asked questions for all Apple products, including Motion. You’ll also

have access to product specifications, reference documentation, and Apple and third-

party product technical articles:

Â http://www.apple.com/support

1

13

1 Getting to Know Motion

This chapter introduces you to the basic concepts of motion

graphics and the Motion interface. It also describes how to

work with all of the basic tools you need to get started.

Motion is a behavior-driven motion graphics application that allows you to create

stunning imaging effects for a wide variety of projects, including title sequences,

broadcast graphics, and sophisticated simulations.

Motion lets you create movement and other effects on the fly and in real time. Simply

drag one of Motion’s built-in behaviors (such as Spin or Throw) or filters (such as Glow

or Strobe) onto an object in the Canvas, and watch your composition spring to life—

twirling, zipping across the screen, pulsing with luminescence, or any of hundreds of

other effects.

You can also animate the traditional way, using keyframes, but Motion behaviors give

you instant feedback, so you can sit with your clients, art directors, or friends and

interactively design a motion graphics project on your desktop. You want a title to fade

in, do a little shimmy, and then slide out of view? Simply click Play, then drag the Fade,

Random Motion, and Gravity behaviors onto the title in the Canvas—no preview

rendering time is necessary.

14 Chapter 1 Getting to Know Motion

Motion can be used for commercials, documentaries, titles, broadcast or web graphics,

corporate presentations, DVD menus, or your own personal video projects. Whether

you need the precision of keyframed animation, the free-flow animated effects of

behaviors, or a little of both—Motion has a flexible toolset to meet your motion

graphics needs.

This chapter provides an introduction to motion graphics and the Motion workspace

and how to navigate and use common tools and controls.

About Motion Graphics

Motion graphics is a type of visual effects work most commonly associated with title

sequences and show openers, bumpers and interstitials, and interface design like DVD

menus. It is also frequently used in technical settings for simulations of moving systems

such as traffic patterns or scientific models.

Motion graphics usually incorporates multiple objects onscreen simultaneously and is

typically governed by design considerations and a strong sense of visual impact.

Sophisticated motion graphics artists often combine traditional layout and design

techniques with tools borrowed from special effects work such as keying, masking,

compositing, and particle systems to create dynamic moving designs. The tools

commonly used for motion graphics fall into several categories.

Design Tools

Graphic designers have been using software to facilitate their work for many years.

Motion has incorporated many of the most valuable tools commonly found in layout

and design applications, including guides, alignment, and direct manipulation for

positioning, transforming, and distorting layers. It also contains some of the most

flexible and sophisticated tools for creating and handling text elements. This is

especially important because text is such a critical component of motion graphics

design.

Chapter 1 Getting to Know Motion 15

Timing Tools

The principal difference between traditional design and motion graphics is that motion

graphics is time based. This means that you are concerned with creating a well-

composed and readable layout, and you must also manipulate that layout over the

duration of the show. Motion provides a Timeline that contains tools usually found in a

video editing application (such as trimming, markers, slipping, and snapping) to allow

you to hone and compose the temporal aspects of your project.

Motion also supports audio files, including basic audio mixing, so you can create a

soundtrack for your project and make timing decisions based upon the audio as well as

visual components. You can animate layers, filters, behaviors, and other elements to

create elegant and precise compositions. Furthermore, you can smoothly retime your

footage using optical flow technology, or apply Retiming behaviors to clips for some

funky effects such as stutter and flash frames.

2D and 3D Compositing

Any time you have more than one layer onscreen simultaneously, you must employ

some version of compositing to combine the elements. This might mean moving the

layers onscreen so they don’t overlap, adjusting the layers’ opacities so they are partly

visible, or incorporating blend modes that mix the overlapping images in a variety of

ways. Compositing is fundamental to motion graphics work. Fortunately, Motion makes

it easier than ever before, allowing you to control layer and group order, lock and

group layers, and apply more than 25 different blending options to create unique

effects.

You can also mix 2D and 3D groups in a single project. This allows you to do basic

compositing with some elements of your project and complex 3D animations with

other elements.

Special Effects Tools

You can further enhance your motion graphics projects by employing many of the

same tools used in movies to combine dinosaurs with live actors, sink luxury liners in

the ocean, or create space battles. Motion provides many of these tools such as keying

(to isolate an object shot against a solid-colored background), masking (to hide wires or

other objects that should not be seen in the final image), and particle systems (to

simulate natural phenomena such as smoke, fire, and water). In fact, Motion can be

used to create special effects shots like these, but its real power is in integrating these

tools with the design and editing tools described above.

16 Chapter 1 Getting to Know Motion

Unique Tools

As the field of motion graphics design has evolved, the tool sets in the most common

applications have grown, but Motion takes a completely fresh approach to the task. It

incorporates the cutting edge of software design and takes advantage of the latest

powerful Apple hardware. And while it does include the tools and techniques artists

have grown accustomed to, it also incorporates a streamlined and new set of tools

called behaviors that make previously complex (or near-impossible) procedures as

simple as dragging and dropping. A tool called the replicator creates a customizable

pattern from copies of a layer, quickly creating complex design effects that would take

hours to build in other applications. Very flexible paint and shape tools allow you to

add or create shapes that are drawn on the Canvas over time.

Behaviors

The Motion behaviors simplify the most common tasks such as scaling, fading, and

moving elements. Behaviors also allow you to create complex 2D or 3D interactions

such as Edge Collision (making elements bounce off of defined edges) or Attractor

effects (giving one element a gravitational pull on surrounding elements). And because

text is such a critical element of motion graphics work, Motion includes more than 100

behaviors specifically designed for text elements that treat individual letters uniquely

while simultaneously affecting the entire text layer in which they reside.

Using Simulation behaviors, text, particles, replicator pattern elements, and paint stroke

dabs can be pulled out of the X and Y planes and toward a layer that is offset in Z

space.

The Heads-Up Display (HUD)

One of the things that can bog down an otherwise fluid motion graphics experience is

having to stop and hunt for the location of a particular setting. Motion uses a special

floating window called the heads-up display, referred to as the HUD, to provide at-your-

fingertips access to your most frequently used parameters. The HUD changes

dynamically, depending on what is selected. The HUD also provides access to unique

visual controls for some of the behaviors.

The HUD also allows you to quickly add behaviors to specific parameters of an object.

These Parameter behaviors allow you to affect a single aspect of an object (its position,

scale, or opacity, for example) rather than the object as a whole. To add a Parameter

behavior, Control-click a parameter in the HUD, then choose a Parameter behavior from

the shortcut menu. For more information about Parameter behaviors, see “Applying

Parameter Behaviors” on page 380.

Chapter 1 Getting to Know Motion 17

Real-Time Feedback

With the right hardware configuration, nearly every effect and adjustment you make

can be viewed in real time. This means that you can watch how the various elements of

your composition interact as you modify them. Not only does this mean less waiting

time while the computer converts your various clicks and drags into a viewable movie,

it means that you can interact with your creation in a more fluid and engaging way.

Rather than making a set of assumptions and then waiting to see how they turn out,

you can immediately see how your ideas work, then make adjustments on the fly.

Real-time feedback turns the act of designing a motion graphics sequence into an act

of exploration and discovery, which is the way most artists prefer to create. Motion

provides not just a new set of brushes for the motion graphics artist, but a whole new

type of work environment.

Mouse and Keyboard Shortcut Considerations

If you have a three-button mouse connected to your computer, you can right-click to

access the same controls specified by the Control-click commands in the user

documentation (for example, Control-click the Toolbar, then choose Customize Toolbar

from the shortcut menu). If you are working on a PowerBook G4, MacBook, or MacBook

Pro, keep in mind that some keyboard shortcuts require you to use the Function key

(Fn—next to the Control key) in conjunction with the keys specified in the user

documentation. For example, the F1–F10 keys and several letter keys require the Fn key

to activate key commands such as plus (+), minus (–), and so on. For more information

about keyboard shortcuts in Motion, see Appendix A, “Keyboard Shortcuts,” on

page 1167.

Enabling Traditional Function Keys on Mobile Macintosh Systems

By default, on Powerbook, MacBook, and MacBook Pro computers, the F1–F12 keys

are assigned to hardware controls, such as brightness, audio volume, numlock, and so

on. This means that you have to press the Function (Fn) key along with the F-key

when you want to invoke F-key commands in your software applications.

You can change your keyboard preferences so that the F-keys work in the traditional

manner, without pressing the Fn key. When this setting is activated, you can press the

Fn key along with the F-key to activate the hardware commands.

To enable traditional function keys:

m In the Keyboard tab of the Keyboard & Mouse preferences in System Preferences,

select the “Use the F1-F12 keys to control software features” checkbox. Uncheck the

box to return to the default setting.

18 Chapter 1 Getting to Know Motion

About Motion

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, audio files, as well as objects created within Motion. These objects

include text, masks, shapes, particles, paint strokes, and so on.

A Motion project is made up of groups that contain layers. All media imported into

Motion, or elements created within a project, are referred to as layers. A layer must live

within a group. The group acts as a “parent” to its layers. You can select multiple layers

within a group to create a nested group. A group can be 2D or 3D.

Cameras and lights can be added to projects. When a camera is added to a project, you

have the option to switch the project to 3D mode or to remain in 2D mode (unless the

project is empty or completely 2D, in which case it is automatically switched to 3D

mode). 2D groups can exist in a 3D project. A 2D group can be nested in a 3D group. A

3D group can be nested in a 2D group. Once a 3D group is nested in a 2D group, the

group is flattened. This means that the nested 3D group acts like a flat card and ignores

the camera. In addition, the flattened group does not intersect with layers of the 2D

group or other groups in the project.

Any transforms, filters, or behaviors that are applied to a group are applied to the layers

within the group. If you move or apply a filter or behavior to a group, all layers within

that group are affected. You can also apply filters and behaviors to the individual layers

within a group.

A filter is a process that changes the appearance of an image. For example, a blur filter

takes an input image and outputs a blurred version of that image. A behavior is a

process that applies a value range to an object’s parameters, creating an animation

based on the affected parameters. For example, the Spin behavior rotates an object

over time at a rate that you specify.

Groups and layers can be moved and animated by using behaviors or by setting

keyframes. Filters can also be animated.

A project represents a single flow of image data built from the bottom up. In a

composite with a single group, the layers within that group are stacked above one

another. Filters and behaviors that are applied to a layer appear beneath the object 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).

Chapter 1 Getting to Know Motion 19

In a simple example, a group contains a single image with applied color correction and

blur filters (in that order). The image provides the input data to the color correction

filter. The output data of the color correction is the input data for the blur filter. The

group represents the result of that image data flow. Groups and layers are also stacked

one above the other in a project—the output of the lower layer is the input to the layer

above it in the list.

When working in 3D mode, a layer that is below another layer in the Layers list can

appear above that layer in the Canvas if its Z position is closer to the camera. You can

force the layers to respect their order in the Layers list by turning on Layer Order in the

Group tab of the Inspector.

About the Motion Workspace

When you open Motion, the workspace fills your entire monitor, but the interface is

actually made up of several independent windows. The sizes and arrangements of

these windows are flexible to allow for the varying needs of different projects. There

are additional panes and windows that can be displayed along with the default set. In

the following illustration, the Cinema layout is used.

Utility window Canvas (above Timing pane)

Inspector

20 Chapter 1 Getting to Know Motion

Utility Window

When you open Motion, a utility window appears on the left side of the screen and

contains the File Browser from which you can add files to your project. The utility

window also has tabs to display the Library which contains all of the effects, templates,

and other goodies that come with Motion, and the Inspector where you can

manipulate individual settings for those effects.

Note: In Cinema layout, the Inspector tab appears in a separate utility window, on the

right side of the workspace.

Canvas

The majority of your screen is occupied by your main work area, the Canvas. This is

similar to the document window in many other applications. It is here that you arrange

and lay out the layers that comprise your composite. Adding layers and effects to your

project is as simple as dragging them from the utility window to the Canvas.

File Browser Library

Inspector

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Apple MOTION 3 Owner's manual

Apple MOTION 3 Owner's manual

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