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Motion 5
User Manual
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Welcome to Motion15Preface
About Motion15
About the Motion Documentation16
Additional Resources16
About Motion and Motion Graphics17Chapter 1
General Motion Graphics Tools17
Tools and Techniques Specific to the Motion Application18
About Motion Projects20
The Motion Interface23Chapter 2
Project Browser24
Workspace Overview25
File Browser26
Library32
Inspector41
Toolbar46
Timing Display53
Canvas55
Viewing the Canvas or Timing Pane on a Second Display80
Project Pane81
Timing Pane95
HUD118
Text Field Shortcut Menu121
User Interface Controls123Chapter 3
Toolbar Controls123
Slider Controls124
Coordinate Controls125
Dial126
Value Field127
Activation Checkbox127
Menus127
Source Well129
4
Contents
Color Controls129
Gradient Controls132
Generic Inspector Controls141
Rasterization Indicator142
Motion Menus145Chapter 4
Application Menu145
File Menu146
Edit Menu148
Mark Menu150
Object Menu152
Favorites Menu155
View Menu155
Share162
Window Menu163
Help Menu164
Preferences167Chapter 5
General Pane168
Appearance Pane170
Project Pane172
Time Pane174
Cache Pane175
Canvas Pane177
3D Pane179
Presets Pane181
Gestures Pane183
Creating and Managing Projects185Chapter 6
Creating Projects185
Managing Projects195
Adding Media to a Project206
Managing Layers in a Project209
Deleting Objects from a Project213
Exchanging Media in a Project214
Source Media Parameters215
File Types Supported by Motion219
Using Media in the Library227
Organizing Groups and Layers in Motion233
Customizing and Creating Templates247
Basic Compositing257Chapter 7
Compositing Workflow257
5Contents
Group and Layer Order259
Transforming Layers261
2D Transform Tools265
Adjusting Layer Properties in the Inspector282
Making Clone Layers287
Editing Opacity and Blending Parameters288
Drop Shadows311
Retiming313
Expose Commands317
Using the Timeline319Chapter 8
About the Timeline320
Timeline Layers List322
Adding Objects to the Timeline Layers List327
Adding Layers to the Track Area331
Editing Objects in the Timeline337
Working in the Ruler351
Adding Markers358
Mini-Timeline362
Using Behaviors365Chapter 9
Behavior Concepts365
Browsing for Behaviors369
Applying and Removing Behaviors370
Modifying Behaviors377
Working with Behaviors380
Changing the Timing of Behaviors385
Animating Behavior Parameters392
Saving and Sharing Custom Behaviors394
Basic Motion Behaviors397
Parameter Behaviors421
Retiming Behaviors446
Simulation Behaviors452
Additional Behaviors478
Using Rigs479Chapter 10
About Rigging and Widgets480
How Rigging Works480
Building a Rig481
Managing Parameter Snapshots489
Controlling Rigs from Parameter Animation Menus493
Animating Widgets495
Using Rigs in Motion495
6 Contents
Publishing Rigs497
Creating Templates for Final Cut Pro X499Chapter 11
About Templates500
Creating an Effect for Final Cut Pro X507
Modifying a Final Cut Pro X Effect in Motion509
Example: Modifying the Bokeh Random Effect510
Advanced Example: Creating an SLR Effect Template Using Rigging514
Creating a Title for Final Cut Pro X527
Modifying a Final Cut Pro X Title in Motion530
Creating a Transition for Final Cut Pro X531
Modifying a Final Cut Pro X Transition in Motion534
Example: Creating a Prism Blur Transition535
Creating a Generator for Final Cut Pro X538
Modifying a Final Cut Pro X Generator in Motion540
Publishing a Standard Motion Project as a Final Cut Pro X Template541
Using Media in Template Placeholders541
Publishing Parameters in Templates543
Animation and Timing in Templates551
Working with Markers in Templates554
Template Resolution559
Using Masks in Templates559
Template Files and Media Save Location560
Adding Multiple Display Aspect Ratios to a Template562
Tips for Creating Templates564
Keyframes and Curves567Chapter 12
Keyframing in Motion568
Keyframing Methods572
Applying Movement to an Object in the Canvas575
Animating Using the Inspector582
Animating Filters588
Animating Behaviors590
Combining Behaviors and Keyframes591
Working with Keyframes in the Timeline592
Animating in the Keyframe Editor595
Filtering the Parameter List603
Modifying Keyframes608
Modifying Curves619
Mini-Curve Editor629
Animating on the Fly631
Keyframe Thinning633
7Contents
Keying637Chapter 13
About Keying637
Using the Keyer Filter638
Using the Luma Keyer Filter659
Keying Refinement Filters664
Working with Particles667Chapter 14
About Particle Systems668
Anatomy of a Particle System669
Using Particle Systems671
Creating Graphics and Animations for Particle Systems688
The Difference Between Emitter and Particle Cell Parameters690
Emitter and Cell Parameters694
Animating Objects in Particle Systems716
Viewing Animated Emitter Curves in the Keyframe Editor720
Using Masks with Particle Systems721
Applying Filters to Particle Systems722
Particle System Examples722
Saving Custom Particle Effects to the Library731
Using the Replicator733Chapter 15
Replicator Concepts734
Anatomy of a Replicator735
Getting Started with the Replicator739
Basic Replicator Parameters in the HUD744
Replicators and the Properties Inspector748
Using the Replicator Onscreen Controls752
Advanced Replicator Controls755
Using Image and Geometry Objects782
Using Replicators in 3D Space784
Applying Masks to Replicators786
Animating Replicator Parameters787
Using the Sequence Replicator Behavior788
Using Behaviors with Replicators802
Applying Filters to Replicators804
Saving Custom Replicators to the Library805
Creating and Editing Text807Chapter 16
About Text in Motion808
Setting Motion Preferences for Text808
Adding Text809
Using Text Tools821
8 Contents
About Fonts822
Editing Text in the Inspector825
Editing Text Format828
Finding and Replacing Text829
Text Controls in the Format Pane830
Basic Formatting Controls830
Text Format-Related Tasks833
Editing Text Style835
Text Controls in the Style Pane836
Text Style-Related Tasks844
Using and Creating Preset Text Styles861
Editing Text Layout865
Text Controls in the Layout Pane866
Text Layout-Related Tasks878
Text Margin and Tab-Related Tasks886
Working with Text Glyphs888
Adding Behaviors and Filters to Text894
Using the Text HUD895
Animating Text899Chapter 17
Text Animation and Text Sequence Behaviors900
Sequence Text Behavior902
Scroll Text Behavior924
Text Tracking Behavior927
Type On Behavior928
Preset Text Sequence Behaviors929
Saving a Modified Text Behavior to the Library935
Using Other Behaviors with Text936
Using Behaviors to Animate Text in 3D938
Animating Text with Keyframes939
Animating with the Transform Glyph tool939
Working with Generators941Chapter 18
About Generators941
Adding a Generator942
Modifying Generators943
Generator Parameters953
Text Generators976
Using Filters985Chapter 19
About Filters986
Browsing and Previewing Filters987
Applying and Removing Filters988
9Contents
Adjusting Filters990
Keyframing Filter Parameters1003
Applying Behaviors to Filter Parameters1006
Publishing Filter Parameters and Onscreen Controls1007
Blur Filters1008
Border Filters1020
Color Correction Filters1023
Distortion Filters1043
Glow Filters1068
Sharpen Filters1074
Stylize Filters1076
Tiling Filters1099
Time Filters1106
Video Filters1108
Using Shapes, Masks, and Paint Strokes1111Chapter 20
About Shapes, Masks, and Paint Strokes1112
The Difference Between Shapes, Paint Strokes, and Masks1113
Shape and Mask Drawing Tools1114
Editing Shapes1121
Adding Shapes from the Library1147
Copying Styles Between Shapes1147
Shape Parameters1148
Shape Controls in the HUD1169
Creating Illustrations Using Multiple Shapes1170
Creating Holes and Transparency in Shapes1172
Applying Filters to Shapes1173
Animating Shapes1174
Shape Behaviors1174
Keyframing Shape Animation1190
Saving Shapes and Shape Styles1192
Using Masks to Create Transparency1196
Mask Parameters1212
Applying Image Masks to a Layer1216
Image Mask Parameters1219
Using Masks to Aid Keying Effects1220
Converting Between Shapes and Masks1224
Manipulating Alpha Channels Using Filters1226
3D Compositing1229Chapter 21
Real-World Coordinates1229
3D Transform Tools1231
3D Workspace and Views1242
10 Contents
2D and 3D Group Intersection1250
Cameras1254
Lighting1267
Shadows1274
Reflections1284
Motion Tracking1289Chapter 22
About Motion Tracking1290
How a Tracker Works1291
Motion Tracking Behaviors1292
Shape Track Points Behavior1294
Track Behavior1294
General Motion Tracking Workflow1295
Match Move Workflows1298
Using a Non-Match Move Four-Point Track for Corner-Pinning1310
Stabilize Workflow1312
Unstabilize Workflow1315
Track Points Workflow1316
Track Parameter Workflow1320
Adjusting the Onscreen Trackers1321
Strategies for Better Tracking1324
Tracking Behavior Parameters1341
Working with Audio1363Chapter 23
About Audio in Motion1363
Audio Files in Motion Projects1364
Working with Audio Tracks1372
Keyframing Level and Pan Changes1378
Crossfading Audio Tracks1379
Syncing Audio and Video Tracks1379
Retiming Audio1379
Using Markers with Audio1382
Audio Behaviors1382
Audio Parameter Behavior1384
Sharing Motion Projects1389Chapter 24
Share Menu1389
Render Options for Sharing1390
Sharing to Apple Devices1391
Sharing to Disc or Creating a Disk Image1393
Sharing to Podcast Producer and Email1396
Sharing to Video Sharing Sites1398
Exporting QuickTime, Audio, and Image Sequence Media1402
11Contents
Exporting Frames1405
Exporting for HTTP Live Streaming1406
Exporting Using Compressor1407
Background Rendering1408
About Share Monitor1408
About Rasterization1411Appendix A
Groups and Rasterization1411
Text and Rasterization1414
Shapes and Rasterization1415
Particles, Replicators, and Rasterization1415
Filters and Rasterization1418
Shadows and Rasterization1420
Video and File Formats1421Appendix B
Supported File Formats1421
Popular Video Codecs for File Exchange1423
Field Order1425
Using Square or Nonsquare Pixels When Creating Graphics1426
Differences in Color Between Computer and Video Graphics1428
Using Fonts and Creating Line Art for Video1429
Scaling Imported High-Resolution Graphics1429
Creating Graphics for HD Projects1430
Creating Graphics for 2K and 4K Projects1430
Keyboard Shortcuts1431Appendix C
Enabling Function Keys on Portable Macintosh Computers1432
General Interface Commands1432
Motion Menu1434
File Menu1434
Edit Menu1435
Mark Menu1436
Object Menu1437
View Menu1438
Share Menu1440
Window Menu1441
Help Menu1441
Audio list1442
Tools1442
Transport Controls1448
View Options1448
Miscellaneous1450
HUD1450
12 Contents
File Browser1451
Inspector1451
Keyframe Editor1451
Layers1452
Library1453
Media List1453
Timeline Editing and Navigating1453
Keyframing Commands1455
Shape and Mask Commands1456
Toolbar1456
3D Commands1457
Using the Command Editor1458
Using Gestures1465Appendix D
Configuring Gesture Setup1465
Wacom Settings1467
Using Gestures1468
13Contents
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. 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? Click Play, then drag the Fade, Random
Motion, and Gravity behaviors onto the title in the Canvas—no preview rendering time
is necessary.
Whether you need simple text effects like lower-thirds and credit rolls, a complex 3D
motion graphics project for a show intro or television commercial, or more advanced
image manipulation techniques to stabilize footage or composite green screen effects,
Motion has a flexible tool set to meet your motion graphics needs.
If you use Final Cut Pro X, you can modify the Final Cut Pro preset titles, effects, and
transitions in Motion. Additionally, you can use Motion to create original presets for use
in Final Cut Pro, specifying which, if any, controls are exposed when the preset is applied
in Final Cut Pro. When saved, these presets appear in the Final Cut Pro media browsers.
15
Welcome to Motion
Preface
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 the Motion Documentation
The Motion 5 User Manual (this document) contains detailed information about the Motion
interface, commands, and menus and gives step-by-step instructions for creating Motion
projects and for accomplishing specific tasks. It is written for users of all levels of
experience.
Additional Resources
Along with the documentation that comes with Motion, there are a variety of resources
to find out more about the application.
Motion Website
For general information and updates as well as the latest news about Motion, go to:
• http://www.apple.com/finalcutpro/motion
Apple Service and Support Websites
For software updates and answers to the most frequently asked questions for all Apple
products, go to the general Apple Support webpage:
• http://www.apple.com/support
For software updates, documentation, discussion forums, and answers to the most
frequently asked questions for Motion, go to:
• http://www.apple.com/support/motion
To get more information on third-party tools, resources, and user groups, go to:
• http://www.apple.com/finalcutpro/resources
To provide comments and feedback about Motion, go to:
• http://www.apple.com/feedback/motion.html
16 Preface Welcome to Motion
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.
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.
This chapter covers the following:
• General Motion Graphics Tools (p. 17)
• Tools and Techniques Specific to the Motion Application (p. 18)
• About Motion Projects (p. 20)
General Motion Graphics Tools
The tools commonly used for motion graphics fall into several categories.
Design Tools
Graphic designers have long used software to facilitate their work. Motion has incorporated
many of the most valuable features commonly found in layout and design applications,
including guides, alignment aids, and direct manipulation tools for positioning,
transforming, and distorting images. Motion also contains some of the most flexible and
sophisticated tools for creating and handling text elements. This is important because
text is such a critical component of motion graphics design.
Timing Tools
The principal difference between traditional design and motion graphics design is that
motion graphics design is time-based. Motion graphics artists are concerned with creating
a well-composed and readable layout that can be manipulated over time. Motion provides
a Timeline that contains tools usually found in video editing applications, including tools
for setting markers, trimming, slipping, and snapping—enabling you to compose and
precisely hone the temporal aspects of a kinetic project.
17
About Motion and Motion
Graphics
1
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.
2D and 3D Compositing Tools
Any time you have more than one image layer onscreen, you must employ some version
of compositing to combine the elements. This might mean moving image 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 various ways. Compositing
is fundamental to motion graphics work. Fortunately, Motion makes it easier than ever
before, allowing you to control layer 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, combining basic compositing
techniques with complex 3D animations.
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 elegantly handles many special effects techniques,
including 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), keyframing
(to animate onscreen objects), and particle systems (to simulate natural phenomena such
as smoke, fire, and water).
Tools and Techniques Specific to the Motion Application
Motion takes a fresh approach to the art of kinetic graphics creation, incorporating the
latest in software design and powerful Apple hardware. Although it includes all the tools
and techniques that artists rely on, Motion introduces a number of powerful features that
accomplish key tasks with an ease and elegance previously unheard of in motion graphics.
Additionally, Motion offers other unique features.
Behaviors
A set of robust tools called behaviors simplify the convoluted workflows traditionally
required to create animations and physics simulations. Unlike keyframes, behaviors are
interactive in real time, enabling you to adjust multiple parameters while you watch the
animation or simulation play back onscreen. There are special behaviors for video retiming,
motion tracking, smoothing shaky camera footage, keying, text animation, camera
movement, and audio effects.
18 Chapter 1 About Motion and Motion Graphics
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.
Final Cut Pro X Templates
Motion also lets you create effects, title, and transition templates for use in Final Cut Pro X,
and when you publish the templates, you can include rigs, simplifying the task of
parameter adjustment in Final Cut Pro.
Heads-Up Display (HUD)
A special floating window called the heads-up display (HUD), provides at-a-glance access
to your most frequently used parameter controls. The HUD changes dynamically,
depending on what is selected in your project. The HUD also provides access to unique
visual controls for some of the behaviors.
Real-Time Feedback
With the right hardware configuration, most effects in Motion can be viewed in real time.
This means that you can watch how the various elements of your composition interact
as you modify them. 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.
Input Devices
If you have a two- or 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. If you are working on a MacBook or MacBook Pro, 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 more information about keyboard
shortcuts in Motion, see Keyboard Shortcuts.
If you have a Multi-Touch device, such as a Magic Mouse or trackpad, you can use various
gestures for interface navigation, scrolling, frame scrubbing, and zooming. You can also
use gestures to change the size of icons in the File Browser and Library. These gestures
are discussed in their relative sections of the documentation.
19Chapter 1 About Motion and Motion Graphics
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. All media imported into Motion,
or elements created within a project (such as shapes or particles), are referred to as layers.
A layer must live in a group. The group acts as a “parent” to its layers. You can select
multiple layers in a group to create a nested group. A group can be 2D or 3D. For more
information on layer and group basics, see Transforming Layers.
Any item in Motion can be referred to as an object, but an item that you can see in the
Canvas, such as an image, shape, or text, is generally referred to as a layer. A camera,
light, rig, filter, behavior, and so on is generally referred to as an object.
Cameras and lights can be added to projects. When you add a camera to a project, you
can 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 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. When 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. For
more information on working in 3D, see 3D Compositing.
Any transforms, filters, or behaviors applied to a group are applied to all layers in the
group. If you move or apply a filter or behavior to a group, all layers in that group are
affected. You can also apply filters and behaviors to individual layers in 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. For more information
on using filters, see Using Filters.
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. For more information on using behaviors, see
Using Behaviors.
Groups and layers can be moved and animated by using behaviors or by setting keyframes.
For information about keyframing, see Keyframes and Curves. Filters can also be animated.
20 Chapter 1 About Motion and Motion Graphics
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