Apple Motion 5 User manual

Apple Motion 5 User manual
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
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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
Project Pane
Timing Pane
HUD
Text Field Shortcut Menu
Chapter 3
123
123
124
125
126
127
127
127
129
User Interface Controls
Toolbar Controls
Slider Controls
Coordinate Controls
Dial
Value Field
Activation Checkbox
Menus
Source Well
4
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
233
247
Creating and Managing Projects
Creating Projects
Managing Projects
Adding Media to a Project
Managing Layers in a Project
Deleting Objects from a Project
Exchanging Media in a Project
Source Media Parameters
File Types Supported by Motion
Using Media in the Library
Organizing Groups and Layers in Motion
Customizing and Creating Templates
Chapter 7
257 Basic Compositing
257 Compositing Workflow
Contents
5
6
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
Chapter 9
365
365
369
370
377
380
385
392
394
397
421
446
452
478
Using Behaviors
Behavior Concepts
Browsing for Behaviors
Applying and Removing Behaviors
Modifying Behaviors
Working with Behaviors
Changing the Timing of Behaviors
Animating Behavior Parameters
Saving and Sharing Custom Behaviors
Basic Motion Behaviors
Parameter Behaviors
Retiming Behaviors
Simulation Behaviors
Additional Behaviors
Chapter 10
479
480
480
481
489
493
495
495
Using Rigs
About Rigging and Widgets
How Rigging Works
Building a Rig
Managing Parameter Snapshots
Controlling Rigs from Parameter Animation Menus
Animating Widgets
Using Rigs in Motion
Contents
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 Cut Pro X Transition in Motion
Example: Creating a Prism Blur Transition
Creating a Generator for Final Cut Pro X
Modifying a Final Cut Pro X Generator in Motion
Publishing a Standard Motion Project as a Final Cut Pro X Template
Using Media in Template Placeholders
Publishing Parameters in Templates
Animation and Timing in Templates
Working with Markers in Templates
Template Resolution
Using Masks in Templates
Template Files and Media Save Location
Adding Multiple Display Aspect Ratios to a Template
Tips for Creating Templates
Chapter 12
567
568
572
575
582
588
590
591
592
595
603
608
619
629
631
633
Keyframes and Curves
Keyframing in Motion
Keyframing Methods
Applying Movement to an Object in the Canvas
Animating Using the Inspector
Animating Filters
Animating Behaviors
Combining Behaviors and Keyframes
Working with Keyframes in the Timeline
Animating in the Keyframe Editor
Filtering the Parameter List
Modifying Keyframes
Modifying Curves
Mini-Curve Editor
Animating on the Fly
Keyframe Thinning
Contents
7
8
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 the Keyframe Editor
Using Masks with Particle Systems
Applying Filters to Particle Systems
Particle System Examples
Saving Custom Particle Effects to the Library
Chapter 15
733
734
735
739
744
748
752
755
782
784
786
787
788
802
804
805
Using the Replicator
Replicator Concepts
Anatomy of a Replicator
Getting Started with the Replicator
Basic Replicator Parameters in the HUD
Replicators and the Properties Inspector
Using the Replicator Onscreen Controls
Advanced Replicator Controls
Using Image and Geometry Objects
Using Replicators in 3D Space
Applying Masks to Replicators
Animating Replicator Parameters
Using the Sequence Replicator Behavior
Using Behaviors with Replicators
Applying Filters to Replicators
Saving Custom Replicators to the Library
Chapter 16
807
808
808
809
821
Creating and Editing Text
About Text in Motion
Setting Motion Preferences for Text
Adding Text
Using Text Tools
Contents
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 Behaviors and Filters to Text
Using the Text HUD
Chapter 17
899
900
902
924
927
928
929
935
936
938
939
939
Animating Text
Text Animation and Text Sequence Behaviors
Sequence Text Behavior
Scroll Text Behavior
Text Tracking Behavior
Type On Behavior
Preset Text Sequence Behaviors
Saving a Modified Text Behavior to the Library
Using Other Behaviors with Text
Using Behaviors to Animate Text in 3D
Animating Text with Keyframes
Animating with the Transform Glyph tool
Chapter 18
941
941
942
943
953
976
Working with Generators
About Generators
Adding a Generator
Modifying Generators
Generator Parameters
Text Generators
Chapter 19
985
986
987
988
Using Filters
About Filters
Browsing and Previewing Filters
Applying and Removing Filters
Contents
9
10
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, Masks, and Paint Strokes
About Shapes, Masks, and Paint Strokes
The Difference Between Shapes, Paint Strokes, and Masks
Shape and Mask Drawing Tools
Editing Shapes
Adding Shapes from the Library
Copying Styles Between Shapes
Shape Parameters
Shape Controls in the HUD
Creating Illustrations Using Multiple Shapes
Creating Holes and Transparency in Shapes
Applying Filters to Shapes
Animating Shapes
Shape Behaviors
Keyframing Shape Animation
Saving Shapes and Shape Styles
Using Masks to Create Transparency
Mask Parameters
Applying Image Masks to a Layer
Image Mask Parameters
Using Masks to Aid Keying Effects
Converting Between Shapes and Masks
Manipulating Alpha Channels Using Filters
Chapter 21
1229
1229
1231
1242
3D Compositing
Real-World Coordinates
3D Transform Tools
3D Workspace and Views
Contents
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
Adjusting the Onscreen Trackers
Strategies for Better Tracking
Tracking Behavior Parameters
Chapter 23
1363
1363
1364
1372
1378
1379
1379
1379
1382
1382
1384
Working with Audio
About Audio in Motion
Audio Files in Motion Projects
Working with Audio Tracks
Keyframing Level and Pan Changes
Crossfading Audio Tracks
Syncing Audio and Video Tracks
Retiming Audio
Using Markers with Audio
Audio Behaviors
Audio Parameter Behavior
Chapter 24
1389
1389
1390
1391
1393
1396
1398
1402
Sharing Motion Projects
Share Menu
Render Options for Sharing
Sharing to Apple Devices
Sharing to Disc or Creating a Disk Image
Sharing to Podcast Producer and Email
Sharing to Video Sharing Sites
Exporting QuickTime, Audio, and Image Sequence Media
Contents
11
12
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 Codecs for File Exchange
Field Order
Using Square or Nonsquare Pixels When Creating Graphics
Differences in Color Between Computer and Video Graphics
Using Fonts and Creating Line Art for Video
Scaling Imported High-Resolution Graphics
Creating Graphics for HD Projects
Creating Graphics for 2K and 4K Projects
Appendix C
1431
1432
1432
1434
1434
1435
1436
1437
1438
1440
1441
1441
1442
1442
1448
1448
1450
1450
Keyboard Shortcuts
Enabling Function Keys on Portable Macintosh Computers
General Interface Commands
Motion Menu
File Menu
Edit Menu
Mark Menu
Object Menu
View Menu
Share Menu
Window Menu
Help Menu
Audio list
Tools
Transport Controls
View Options
Miscellaneous
HUD
Contents
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. 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
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
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.
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
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.
Chapter 1
About Motion and Motion Graphics
19
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
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. For more information on basic compositing, see
Basic Compositing.
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 (depth) position is closer to the camera. You can
force the layers to respect their order in the Layers list by selecting the Layer Order
checkbox in the Group pane of the Inspector.
Chapter 1
About Motion and Motion Graphics
21
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. 118)
• Text Field Shortcut Menu (p. 121)
23
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. For more information on the Project Browser, see The Project Browser.
24
Chapter 2
The Motion Interface
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. Click the labels at the top of this area
to show each pane. Use the File Browser to preview and add files to your project. Use
the Library to locate and apply the effects, templates, and other content that Motion
provides. Use the Inspector to modify elements in your project. For more information
see File Browser, Library, and Inspector.
• Toolbar: The toolbar—a horizontal gray bar spanning the center of Motion
workspace—contains tools and controls for creating and editing elements in your
project. The left side of the toolbar provides access to tools used to create and
manipulate objects such as text, shapes, paint strokes, and masks. The center of the
toolbar contains the timing display. The right side of the toolbar includes buttons to
apply effects such as lights, filters, behaviors, particle systems and replicators. For more
information, see Toolbar.
Chapter 2
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25
• 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. Click the labels at the top
of this area to show each list. The Layers list shows all objects used in your composition;
the Media list shows all external images, clips, and audio files linked to your project;
and the Audio list displays all audio tracks in your project. The Project pane can be
hidden to maximize the Canvas working area. For more information, see Project Pane.
• Timing pane: The Timing pane, located underneath the toolbar, contains three modules:
the Timeline, the Audio Timeline, and the Keyframe Editor. Each module lets you see
and manipulate timing aspects of a project. The Timing pane can be hidden to maximize
the Canvas working area. For more information, see Timing Pane.
File Browser
The File Browser displays all files on your computer and networked disks. Navigating the
File Browser is similar to navigating a window in the Finder. You can drag items from the
File Browser to your project.
The File Browser, Library, and Inspector share the same pane on the left side of the Motion
workspace.
To open the File Browser
Do one of the following:
µ
µ
Click File Browser in the top-left corner of the Motion workspace.
Choose Window > File Browser (or press Command-1).
The File Browser opens.
Note: If the File Browser is open, choosing Window > File Browser (or pressing
Command-1) collapses the pane containing the File Browser, Library, and Inspector,
maximizing the Canvas work area.
To collapse or expand the pane containing the File Browser, Library, and Inspector
Do one of the following:
µ
µ
26
With the File Browser open, choose Window > File Browser (or press Command-1).
Click the “i” button in the lower-left corner of the Motion workspace.
Chapter 2
The Motion Interface
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.
If the file is a media clip, the preview starts playing.
Note: If you do not want items to play automatically in the preview area when you click
them, deselect the “Play items automatically on a single click” checkbox in the General
pane of Motion Preferences.
µ
To pause or resume playback of a file
Move the pointer over the visual preview, then click the Pause or Play button that appears
over the thumbnail.
To import a file displayed in the preview area
1 Select the file in the File Browser.
2 Click the Import button in the preview area.
The file is added to the project (to the Canvas, Layers list, Timeline, and Media list).
Note: For a larger preview, double-click any file listed in the File Browser. This opens a
viewer window where you can preview the file at its native size. You can also Control-click
a file and choose Open in QuickTime Player from the shortcut menu.
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27
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.
If you have a Mac with a Multi-Touch trackpad, you can also swipe left or right with three
fingers to navigate up or down the folder hierarchy.
Path pop-up menu (unlabeled): Displays the file system hierarchy (folders inside of
folders) for the current folder.
File Browser Stack
Underneath the File Browser sidebar is the file stack, which displays the contents of the
folder selected in the sidebar. You can scroll through long stacks using a scroll bar or with
a two-finger swipe on a Multi-Touch trackpad.
When you Control-click a file in the File Browser stack, shortcut menu displays the following
commands:
• Open in Viewer: Opens the file in a viewer window.
• Open in QuickTime Player: Opens the file in a QuickTime window.
• Reveal in Finder: Displays the location of the file in the Finder.
• Rename: Turns the name of the file into an active text field so you can enter a new
name.
• Move to Trash: Moves the file into the Trash.
To view the contents of a folder displayed in the file stack
Do one of the following:
µ
µ
28
Double-click the folder.
Select the folder, then press Return.
Chapter 2
The Motion Interface
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.
To rename a folder or file
Do one of the following:
µ
Control-click the file or folder, then choose Rename from the shortcut menu. When the
text field becomes active, enter the new name, then press Return.
µ
In the stack, click the name of the folder or file once to select it, then click it again to
activate the text field. Enter the new name, then press Return.
Warning: Renaming folders or files from the File Browser renames the item on your
hard drive or networked hard disk. If projects use files from the originally named folder,
Motion may list the footage as missing.
To delete a folder or file
Do one of the following:
µ
µ
In the stack, Control-click the file, then choose Move to Trash from the shortcut menu.
Drag the file from the stack to the Trash icon in the Dock.
Warning: Deleting folders or files from the File Browser removes the files from your
hard disk or networked hard disk and places the files in your Trash.
µ
To create a folder
Click the Add button (+) in the lower-left corner of the File Browser.
µ
To move a file into a folder
Drag the file to the folder icon.
The file is moved inside that folder.
Chapter 2
The Motion Interface
29
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.
Icon View and List View
The file stack can be displayed in icon view or list view. Each view is useful for different
situations.
Icon view
µ
30
List view
To view the File Browser in icon view
Click the Icon View button in the lower-right corner of the File Browser.
Chapter 2
The Motion Interface
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.
In list view, the contents of the folder appear as a series of columns at the top of the
stack: Name, Date, Size, Duration, and Kind.
You may need to expand the width of the File Browser, or use the scroll bar at the bottom
of the stack (or a two-finger swipe on a Multi-Touch trackpad), to see all the columns.
Sorting Columns
When in list view, you can sort the list by any column. This can be helpful if you are looking
for a specific file and you know the approximate size or modification date.
µ
To sort the File Browser list
At the top of the stack, click the header of the column to sort.
The column header is highlighted and the contents of the window are sorted by that
column.
Collapsing Animations
Sometimes, animated sequences are delivered as a series of sequentially numbered still
images. Motion can save you time by allowing you to import these sequences as a single
object, with each image used as a sequential frame in a movie.
To import a series of numbered still images as a single object
1 Click the “Show image sequences as collapsed” button in the lower-right corner of the
File Browser.
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31
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
The Library is similar to the File Browser, but rather than showing files on your disk, it
shows effects, content, presets, fonts, music, photos, and other elements available in
Motion.
Library content can be expanded by adding fonts, music, or photos, as well as by saving
content that you create in Motion. You can also save modified versions of existing effects
(such as customized behaviors or camera animations) as custom additions to the Library.
Like the File Browser, the Library is divided into three sections. The top section is the
preview area; the middle section is the sidebar; and the bottom section is the file stack,
where effects and other objects are displayed.
The Library, File Browser, and Inspector share the same pane on the left side of the Motion
workspace.
To open the Library
Do one of the following:
µ
µ
Click Library in the top-left corner of the Motion workspace.
Choose Window > Library (or press Command-2).
The Library opens.
Note: If the Library is open, choosing Window > Library (or pressing Command-2) collapses
the pane containing the Library, File Browser, and Inspector, maximizing the Canvas work
area.
To collapse or expand the pane containing the Library, File Browser, and Inspector
Do one of the following:
µ
µ
32
With the File Browser open, choose Window > Library (or press Command-2).
Click the “i” button in the lower-left corner of the Motion window.
Chapter 2
The Motion Interface
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.
Note: When some particle emitters are selected in the stack, an animated preview plays
in the preview area.
µ
To play a preview of an element such as a replicator
In the Library, click the Replicators category, click a replicator subcategory, then click a
replicator in the stack.
The preview plays in the preview area.
Note: To automatically play items selected in the File Browser or Library, choose Motion
> Preferences (or press Command-Comma), then select “Play items automatically on a
single click” in the File Browser & Library section of the General pane.
µ
To pause or resume preview playback
Move the pointer over the visual preview, then click the Pause or Play button that appears
over the thumbnail.
Chapter 2
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33
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. These buttons work similarly to the Forward and Back buttons in a web
browser.
If you have a Mac with a Multi-Touch trackpad, you can also swipe left or right with three
fingers to navigate up or down the folder hierarchy.
Path pop-up menu (unlabeled): Displays the file system hierarchy (folders inside of
folders) for the current folder.
Theme pop-up menu: Lets you sort and organize Library content by theme. For more
information about working with themes, see Working with Themes in the Library.
Library File Stack
Under the Library sidebar is the file stack, which displays the contents of the folder selected
in the sidebar. You can scroll through long file stacks using the horizontal scroll bar or
with a two-finger swipe on a Multi-Touch trackpad.
To view the contents of a folder displayed in the file stack
Do one of the following:
µ
µ
Double-click the folder.
Select the folder, then press Return.
The contents of the folder replace the current file stack view.
To return to a previously viewed folder
Do one of the following:
µ
µ
µ
34
Click the Back button beneath the preview area.
Choose a folder from the Path pop-up menu beneath the preview area.
Press Command–Up Arrow.
Chapter 2
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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.
For information on adding Library content to your project, see Adding Library Elements
to a Project.
The Library contains the following categories:
• Behaviors: Contains all behaviors, divided into individual subcategories. Some behaviors
can only be applied to specific objects. For example, Text Animation and Text Sequence
behaviors can only be applied to text objects. For more information on how to apply
behaviors, see Applying Behaviors.
• Filters: Contains all filter special effects, divided into individual subcategories. Third-party
FxPlug filters appear in the category to which they belong. Most filters can be applied
to any layer (text, images, shapes, footage, particles, and so on) or mask in your project.
For more information on filters, see About Filters.
• Image Units (Filters): Contains all processing plug-ins based on core image processing
installed on your computer.
• Generators: Contains a selection of checkerboards, noise patterns, color rays, animated
text objects, and other computer-generated elements for use in your projects. For more
information on generators, see About Generators.
• Image Units (Generators): Contains all generators based on core image processing
installed on your computer.
• Particle Emitters: Contains a selection of preset particle systems organized into
subcategories. For more information on particle systems presets, see Using the Particle
Library.
• Replicators: Contains a selection of preset replicators organized into subcategories. For
more information on preset replicators, see Using the Replicator Library Presets.
• Shapes: Contains a collection of preset shapes.
• Gradients: Contains a selection of preset gradients that can be applied to shapes or
text.
• Fonts: Contains all fonts available on your system. For information on changing fonts
in your project, see Changing Fonts.
• Text Styles: Contains a collection of preset type styles that can be applied to text. For
more information, see Using and Creating Preset Text Styles.
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35
• 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.
Note: Rights-protected AAC files cannot be imported into Motion and do not appear
in the file stack. This includes music purchased from the iTunes Store. Video content
from iTunes cannot be imported to a Motion project.
• Photos: Allows you to browse for and import image files from your iPhoto library. The
Photos subcategories include the library and albums created in iPhoto. The contents
of each album appear in the file stack.
Note: When importing a large-scale image into Motion, you can scale the image to the
size of the Canvas. For more information, see Using High-Resolution Still Images.
• Content: Contains elements used in the templates and other presets that ship with
Motion. Use these images, text elements, patterns, and animations to create custom
elements, such as particles and replicators, which can be saved to the Library for later
use.
• Favorites: Stores the custom versions of effects you create and save, including particle
systems, customized filters, animation curves, cameras, groups, or layers. You can also
add shortcuts to frequently used items. By default, this folder is empty.
Note: The preview area does not display descriptions of built-in presets copied to the
Favorites category. Control-click the favorite, then choose Edit Description from the
shortcut menu to add a description that will appear in the preview area of the Library.
• Favorites Menu: Stores custom effects that you want to appear in the Favorites menu
in the menu bar.
Working in the Library
Although you can’t modify the effects, elements, and folders built into Motion, you can
manage custom content in the Library. You can organize custom effects, elements, and
folders in the Library stack in the same way you manipulate files in the Finder. You can
create folders and delete certain files or folders.
You can also easily create, save, and organize files and themes in the Library.
µ
36
To create a new folder
Click the New Folder button (+) in the lower-left corner of the Library.
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The Motion Interface
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.
Warning: Renaming custom folders or files from the Library renames the item on your
hard disk or networked hard disk. If projects use files from the originally named folder,
Motion may list the item as missing.
µ
To delete a folder or file
In the stack, Control-click the custom file, then choose Move to Trash from the shortcut
menu.
Warning: Deleting custom folders or files from the Library removes the files from your
hard disk or networked hard disk and places the files in your Trash.
µ
To move a file into a folder
Drag the file to the folder icon.
The file is moved inside that folder.
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 files whose names contain the entered
text. Folders containing no matches are filtered out.
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.
Note: Folders are not filtered out.
Icon View and List View
The Library file stack can be displayed in icon view or list view.
µ
To view the File Browser in icon view
Click the Icon View button in the lower-right corner of the Library.
µ
To view the File Browser in list view
Click the List View button in the lower-right corner of the Library.
Chapter 2
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37
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.
Working with Themes in the Library
The Library lets you create new custom themes (categories that contain effects and
content), assign content to existing themes, edit how themes are displayed, remove
themes, and search for themes.
Library Themes and Project Browser Themes
Library themes are different from Themes in the Project Browser. Project Browser themes
are applied to entire Motion projects and shared between Motion 5 and Final Cut Pro X
when creating templates. Library themes help you organize projects or related projects
that may share elements by allowing you to label specific objects with a default theme,
such as Abstract, Nature, or Sci-Fi, or to assign elements to a custom theme. For more
information on creating templates for Final Cut Pro, see Creating Templates for
Final Cut Pro X.
To create a new custom theme
1 In the Library, below the preview area, choose New Theme from the Theme pop-up menu.
2 In the Create New Theme dialog, type a theme name, then click OK.
A new theme is added to the Library. New themes appear in the Theme pop-up menu.
Custom themes are saved in the “themes” document in your
/Users/username/Library/Application Support/Motion/Library/ folder.
µ
To assign custom content with a theme
Control-click a custom item in the Library stack (such as a shape saved to the Favorites
folder), choose Theme from the shortcut menu, then choose a theme from the submenu.
An item must be saved in the Library before you can assign the item to a theme. For more
information on saving items to the Library, see Saving and Sharing Custom Library
Elements.
Items that can be assigned a theme include the following:
• Replicators
• Emitters
• Shapes
• Gradients
• Text styles
• Shape styles
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Chapter 2
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• 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.
The Remove Theme item becomes available in the Theme pop-up menu.
2 Choose Remove Theme from the Theme pop-up menu.
The theme is removed from the list.
Note: You can only remove custom themes.
Adding Library Elements to a Project
Effects and content elements can be added to a project from the Library in two ways.
You can drag an element from the Library stack to your project, or you can select an
element in the Library stack and then click the Apply button in the preview area.
Note: To add behaviors and filters, a third option is available. You can select objects in
the project and use the Add Behavior or Add Filter pop-up menus in the toolbar. You can
also create custom particles and replicators (using an existing layer in your project) via
the Make Particles and Replicate buttons in the toolbar. For more information on making
custom particles, see Creating a Simple Custom Particle System. For more information
on making custom replicators, see Creating a Simple Custom Replicator Pattern.
To add a Library effect or element to a project
1 Select the layer or group (in the Canvas, Layers list, or Timeline layers list) to apply the
effect or content element to.
2 Select the element in the Library.
For example, click the Filters category, click a filter subcategory, then click the filter to
apply from the stack.
3 Click the Apply button in the preview area.
The filter is added to the layer or group in your project. If you apply an element such as
a generator, the element is added to the selected group.
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39
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. After an object is placed in the Library, it can be added to a
project like any other element in the Library.
You can save multiple objects to the Library as one file or multiple files. For example, if
you create an effect using multiple filters and you want to save the cumulative effect of
those filters to apply to other objects, you can save the filters as one item in the Library.
Although you can save custom objects into their namesake folders, it is better to save
customized objects that you use frequently to the Favorites category. Because some
Motion Library categories contain numerous items, placing custom items in Favorites or
Favorites Menu categories can save you search time. In the Favorites category, you can
create additional folders to better organize custom items.
Note: You can create folders in the built-in categories, such as the Color Correction filters
subcategory; however, those folders only appear in the Library stack and not the sidebar.
Folders added to the Favorites category appear in the Library sidebar.
To save an object to the Library
1 Open the Library and select the Favorites, Favorites Menu, or other category.
2 Drag the customized object to save from the Layers list, Timeline, or Inspector into the
stack at the bottom of the Library.
Objects saved to the Favorites Menu category can be applied to objects using the Favorites
menu.
When you save a customized object, it is placed in the /Users/username/Library/Application
Support/Motion/Library/ folder.
Note: Items dragged to the wrong category are placed into their namesake categories.
For example, if a custom behavior is dragged to the Filters category, it is placed in the
Behaviors category and the Behaviors category becomes active.
To save multiple objects to the Library
1 Open the Library and select the Favorites, Favorites Menu, or another category.
2 In the Layers list, select all objects to save, then drag them to the stack, holding down
the mouse button until the drop menu appears.
3 From the drop menu, choose “All in one file” or “Multiple files.”
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“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. To do so, Control-click the
icon, choose Edit Description from the shortcut menu, enter notes in then dialog that
appears, then click OK.
Inspector
In Motion, you modify images, clips, and effects by adjusting parameters—numeric
attributes that define each characteristic of a project. The Inspector is where you find the
controls to modify parameters: sliders, dials, pop-up menus, checkboxes, and so on. (For
more information on Inspector controls, see User Interface Controls.)
When you select an image, clip, or effect in Motion, its parameter controls become available
in the Inspector, ready for adjustment. In other words, the Inspector is contextual: what
appears in the Inspector is based on the selected object. An object must be selected for
its parameters to appear in the Inspector.
The Inspector contains four panes, each of which displays parameter controls for the
selected object. The first three panes, Properties, Behaviors, and Filters, are present for
any selected object. The fourth pane, generically called the Object pane, changes its name
and contents depending on the type of object selected.
To open the Inspector
Do one of the following:
µ
µ
Click Inspector in the top-left corner of the Motion workspace.
Choose Window > Inspector (or press Command-3).
The Inspector opens.
Note: If the Inspector is open, choosing Window > Inspector (or pressing Command-3)
collapses the pane containing the Inspector, File Browser, and Library, maximizing the
Canvas work area.
To collapse or expand the pane containing the Inspector, File Browser, and Library
Do one of the following:
µ
µ
With the Inspector open, choose Window > Inspector (or press Command-3).
Click the “i” button in the lower-left corner of the Motion workspace.
Chapter 2
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41
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.
µ
To show or hide a group of controls by double-clicking
Double-click the empty space in a row that contains a group name.
Double-click to
show or hide the
group of controls.
Double-click to
show or hide the
group of controls.
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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.
Properties
This pane, also referred to as the Properties Inspector, contains controls for setting basic
attributes of the selected object, such as Transform controls (position, scale, rotation, and
so on), Blending controls (opacity, blend mode, and so on), Shadows controls, Four Corner
controls, Crop controls, and controls for designating the object’s In and Out points.
Note: Parameter controls are available in the Properties Inspector depending on the type
of object selected. For example, when a 3D group is selected, the Lighting and Reflection
controls appear in the pane, but the Crop, Drop Shadow, and Four Corner controls do
not.
When the Project object (located at the top of the Layers list) is selected, controls become
available Inspector that allow you to modify the project’s background color, aspect ratio,
field rendering, motion blur, reflections, and so on. For more information on project
properties, see Project Properties.
Behaviors
This pane, also referred to as the Behaviors Inspector, contains controls for adjusting
attributes of applied behaviors. If the object has no applied behaviors, the Behaviors
Inspector remains empty. If the object has multiple applied behaviors, grouped controls
for each behavior appear stacked in this pane, with controls for the most recently applied
behavior at the top.
Filters
This pane, also referred to as the Filters Inspector, contains controls for adjusting attributes
of applied filters. If the object has no applied filters, the Filters Inspector remains empty.
If the object has multiple applied filters, grouped controls for each filter appear stacked
in this pane, with controls for the most recently applied filter at the top.
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43
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.
When media is selected, this pane contains the Drop Zone checkbox, the state of which
determines whether the image selected is a drop zone target. When the checkbox is
selected, additional parameters become available. For more information, see Drop Zone
Parameters.
• Group: Appears when a group is the selected object. The pane contains the Type
parameter, which allows you to convert a group from 2D to 3D, and vice versa. A 2D
group has different available parameters than a 3D group.
When set to 2D, Fixed Resolution parameters become available, which allow you to
manually define the size of a group. By default, Fixed Resolution is disabled, and the
size of the group is determined by the layers in that group. For more information, see
Fixing the Size of a Group.
Note: When selected, Fixed Resolution crops the group to the size specified in the
Fixed Width and Fixed Height parameters around the anchor point of the group.
When set to 3D, the Flatten and Layer Order parameters become available. When the
Flatten checkbox is selected, all elements in the 3D group are flattened like a card or
billboard. When the Layer Order checkbox is selected, the project elements are sorted
by their order in the Layers list rather than their order in Z space. For more information,
see Layer Order and Depth Order.
• Project: Appears when the Project object (located at the top of the Layers list) is selected
and contains the Publishing and Snapshots pane. The Publishing pane lists all parameters
set to be published in a template (except for filter onscreen controls). The Snapshots
pane is used to create different display aspect ratios for templates. For more information
on publishing and templates, see Creating Templates for Final Cut Pro X.
• Camera: Appears when a camera is selected and contains controls specific to a scene
camera, including angle of view and depth of field parameters. For more information
on using cameras, see Cameras.
• Light: Appears when a light is selected and contains controls to change the light type,
color, intensity, and falloff. When the Shadows checkbox is selected, parameters become
available that control the shadow cast by a Point or Spot light. For more information
on working with lights and shadows, see Lighting or Shadows.
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• 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. Because multiple project objects
can reference a single media file, the pane contains a list of linked objects. Making
changes in this pane affects all objects that refer to the selected media file. For more
information on working with media parameters, see Source Media Parameters.
• Text: Appears when text is selected and contains all controls that affect the text. The
Text Inspector is divided into three panes:
• Format: Contains standard controls to adjust font, size, tracking, kerning, justification,
alignment, line spacing (leading), and so on. It also contains a large text-entry field
where you can edit the contents of text used in your project. The Format pane also
includes a pop-up menu of preset text styles.
• Style: Contains controls to adjust the fill, outline, glow, and drop shadow of selected
text. Each section is grouped and can be turned on or off by selecting the checkbox
next to the category name. The Style pane also includes a pop-up menu of preset
text styles.
• Layout: Contains paragraph style controls to set text on a path, direction, rendering,
how text objects are affected when behaviors are applied, and how anchor points
are used. This pane also contains controls to create a type-on effect or to modify text
path options. For more information on working with text parameters, see Creating
and Editing Text.
• Mask: Appears when a mask is selected and contains controls to change the mask’s
shape, to define how multiple masks interact, to invert a mask, to smooth the shape
of a mask or adjust its softness, or to change the color of the mask in the Canvas. This
inspector also contains position value sliders for mask control points. For more
information on working with mask attributes, see Mask Parameters.
• Image Mask: Appears when an image mask is selected and contains Mask and Mask
Options controls. These controls allow you to change the mask’s source, reference
frame (if the source is a clip), offset, wrap mode, source channel, blend mode, and so
on. For more information, see Applying Image Masks to a Layer.
• Shape: Appears when a shape is selected and contains controls that affect the shape.
The controls are divided into four panes:
• Style: Contains controls to modify the fill and outline of a shape and the brush type
of an outline or paint stroke. This pane also includes a pop-up menu of preset shape
styles.
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45
• 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. For more information on working with shapes, see Using
Shapes, Masks, and Paint Strokes.
• Emitter: Contains controls for modifying a particle emitter, including emitter shape,
space (2D or 3D), angle, and range. This pane also provides access to cell controls. For
emitters with multiple cells, these controls affect all cells. For more information on
using particles, see Working with Particles.
• Particle Cell: Contains controls for modifying particle cells. Particle cells can only be
selected in the Layers list or Timeline layers list. This pane contains controls for attributes
such as birth rate, speed, angle, and color.
• Replicator: Contains controls for modifying replicator attributes, including shape, space
(2D or 3D), pattern, size, and cell controls. For more information on using the replicator,
see Using the Replicator.
• Replicator Cell: Contains controls for modifying replicator cells. Replicator cells can only
be selected in the Layers list or Timeline layers list. This pane contains controls for
attributes such as angle, color, and scale.
• Generator: Displays the parameters and attributes of the selected generator, such as
the Center, Size, and Intensity parameters of a Lens Flare generator. The parameters
listed depend on the selected generator. For more information on generators, see
Working with Generators.
• Audio Track: Contains controls for adjusting an audio file selected in the Audio list of
the Project pane or in the Audio Timeline, including level, pan, and output bus. For
more information on working with audio, see Working with Audio.
• Master: Contains controls for adjusting a Master audio track selected in the Audio list
of the Project pane, including level, pan, and the output bus of audio tracks in the
project. For more information on working with audio, see Working with Audio.
Toolbar
The toolbar, located in the center of the Motion workspace, provides access to the tools
for manipulating objects in the Canvas, as well as controls for adding objects to a project.
There are tools that transform objects in 2D or 3D space; tools that create text, shapes,
and masks; buttons that add cameras, lights, and generators; pop-up menus that apply
filters and behaviors to objects; and buttons that create particle systems and replicators.
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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. The next
four tools are used to add content to a project, including text, shapes, and paint strokes.
Next are the mask tools, which are contained in a pop-up menu.
At the center of the toolbar is the timing display. For more information, see Timing Display.
To the right of the timing display is the Show/Hide HUD button.
The rest of the controls on the right side of the toolbar are used to add content and other
objects to your project. The first set are object controls, used to add cameras, lights, or
generator objects to a project. The group farthest to the right are effects controls to add
filters, behaviors, particles, or replicators to your project.
The following tables itemize each tool and control (by group) in the toolbar, from left to
right.
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47
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. Click and hold the tool to select a different
mode from the pop-up menu. When you choose a 2D transform tool in the toolbar and
then select an object in the Canvas, onscreen controls appear. Manipulate the onscreen
controls to move or transform an object in the Canvas.
Icon
48
Chapter 2
Name
Keyboard
shortcut
Description
Select/Transform
tool (arrow)
S (Press Tab to
cycle through
tools. An
object must be
selected
before you can
tab through
the tools.)
Selects and moves objects in the Canvas. Also
scales objects (by dragging a corner point) and
rotates objects (by dragging the center point). This
is the default tool in the 2D transform tools pop-up
menu.
Anchor Point
tool
S (Press Tab to
cycle through
tools.)
Changes the point around which an object scales
or rotates (by dragging the current anchor point
to a new position).
Drop Shadow
tool
S (Press Tab to
cycle through
tools.)
Changes the direction and offset of an object’s
drop shadow. This tool doesn’t move the object.
Distort tool
S (Press Tab to
cycle through
tools.)
Shears or distorts an object in one of two ways:
by moving two adjacent corners at the same time,
leaving the other two corners locked into place;
or by moving a corner point, leaving the other
three corners locked into place.
Crop tool
S (Press Tab to
cycle through
tools.)
Hides portions of an object (by dragging the edge
or corner of the object).
Edit Points tool
S (Press Tab to
cycle through
tools.)
Modifies points and Bezier handles for masks,
shapes, and motion paths.
Transform
Glyph tool
S (Press Tab to
cycle through
tools.)
Modifies the position and X, Y, or Z rotation for
characters (glyphs). Becomes available when a text
object is selected.
The Motion Interface
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
3D Transform
tool
Keyboard
shortcut
Q
Description
Manipulates objects in 3D space (by dragging the
3D transform and rotation controls). To display
rotation controls in the Canvas, press the
Command key.
View Tools
Choose a view tool from the pop-up menu to pan and zoom in the Canvas.
Icon
Name
Keyboard
shortcut
Pan tool
H
Drags the Canvas view in different directions (but
never moves individual objects). To reset the pan,
double-click the Pan tool (in the toolbar). To pan
the Canvas without selecting the Pan tool, press
the Space bar and drag in the Canvas.
Zoom tool
Z
Zooms in and out in the Canvas. Click the point
in the Canvas to zoom toward or away from and
drag right or left. To zoom in 50 percent
increments, click in the Canvas. To zoom out in 50
percent increments, press Option and click in the
Canvas. To reset the zoom, double-click the Zoom
tool (in the toolbar).
Walk 3D View
tool
None
Navigates through a 3D scene from the camera’s
POV. After you select the Walk 3D View tool, use
the Up Arrow, Down Arrow, Right Arrow, and Left
Arrow keys to navigate.
Description
Shape Tools
Choose a shape tool from the pop-up menu to create rectangles, circles, and lines.
Icon
Chapter 2
Name
Keyboard
shortcut
Rectangle tool
R
The Motion Interface
Description
Creates a rectangle shape (by dragging in the
Canvas). Pressing Shift while you drag constrains
the layer to a square.
49
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.
Icon
Name
Keyboard
shortcut
Description
Bezier tool
B (Switches
Bezier/B-Spline
tool.)
Creates a freeform shape with Bezier point vertices.
Click repeatedly in the Canvas to create a shape.
To close the shape, click the first point of the shape
or press the C key. To create an open-ended shape,
double-click the last point. (The resulting shape,
although open, is filled by default.)
B-Spline tool
B (Switches
Bezier/B-Spline
tool.)
Creates a freeform shape with B-Spline vertices.
Click repeatedly in the Canvas to create a shape.
To close the shape, click the first point of the shape
or press C. To create an open-ended shape,
double-click the last point. (The resulting shape,
although open, is filled by default.)
Paint Stroke Tool
Select the Paint Stroke tool to create paint strokes.
Icon
Name
Paint Stroke
tool
Keyboard
shortcut
P
Description
Creates shape-based paint strokes. Click and drag
in the Canvas to draw strokes. Command-drag to
adjust the size of the brush stroke before you
create the stroke.
Text Tool
Select the Text tool to add text to a project.
Icon
50
Chapter 2
Name
Keyboard
shortcut
Text tool
T
The Motion Interface
Description
Creates text and lets you edit the text of existing
text layers. Click in the Canvas and begin typing.
Choose the Select/Transform tool (or press Esc) to
grab or move the new text layer. To change
existing text, select the Text tool (in the toolbar),
then click the text in the Canvas.
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). Pressing the Shift key while you drag
constrains the mask to a square.
Circle Mask
tool
Option-C
Creates a circular mask (by dragging in the
Canvas). Pressing the Shift key while dragging
constrains the mask to a circle.
Freehand Mask
tool
None
Creates a freeform mask in the shape you draw in
the Canvas. The shape closes the mask between
the first and last points.
Bezier Mask
tool
Option-B
(switches
Bezier/B-Spline
Mask tools)
Creates a freeform mask with Bezier point vertices.
Click repeatedly in the Canvas to create a mask
shape. To close the mask, click the first point of
the mask or press C. To create an open-ended
mask, double-click the last point.
B-Spline Mask
tool
Option-B
(switches
Bezier/B-Spline
Mask tools)
Creates a freeform mask with B-Spline vertices.
Click repeatedly in the Canvas to create a mask
shape. To close the mask, click the first point of
the shape or press C. To create an open-ended
shape, double-click the last point.
HUD Button
Click the HUD button (the first button to the right of the timing display) to show and hide
the heads-up display (HUD).
Icon
Name
Description
Show/Hide HUD
Shows or hides the HUD, a small floating window
that contains the most commonly used parameter
controls of the selected object.
Object Controls
Use the three object controls (to the right of the HUD button) to add cameras, lights, and
generators to a project.
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51
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.
Add a Generator
Activates a pop-up menu of generators. Choosing
an item from the menu adds that generator to the
project.
Effects Controls
Use the last four controls on the right side of the toolbar to apply the most common
effects: filters, behaviors, particle emitters, and replicators. Because these controls apply
effects to objects, they are not available unless an object is selected.
Icon
52
Chapter 2
Name
Description
Add Filter
Activates a pop-up menu of filters. Choosing an
item from the menu applies that filter to the
object. Filters can only be applied to groups or
layers (images, text, shapes, particle emitters,
masks, replicators, generators, and so on). Filters
cannot be applied to cameras, lights, behaviors,
or other filters.
Add Behavior
Activates a pop-up menu of behaviors. Choosing
an item from the menu applies that behavior to
the object. Behaviors can be applied to layers
(images, particle emitters, and so on), groups,
cameras, and lights.
Make Particles
Uses the selected layer (shape, text, image, and
so on) as the source for a particle cell.
Replicate
Uses the selected layer (shape, text, image, and
so on) as a source cell for a new replicator.
The Motion Interface
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.
When the project’s duration is displayed, the clock icon looks like this:
When the current time is displayed, the clock icon looks like this:
µ
Click the right side of the timing display (the inverted triangle) to open the pop-up menu,
then choose Show Current Time or Show Project Duration.
µ
To modify the duration dynamically
With the timing display pop-up menu set to Show Project Duration, drag over the numbers
in the display, up to increase the value or down to decrease the value.
µ
To change the project to a specific duration
Double-click in the timing display, enter a duration into the field, then press Tab or Return
to confirm your entry.
µ
To switch between timecode and frame numbers
Choose Show Frames or Show Timecode from the timing display pop-up menu (the
inverted triangle).
Chapter 2
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53
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.
To increase or decrease the current time one frame at a time
With the timing display pop-up menu set to Show Current Time, press the Left Arrow key
(or Page Up key) to move backward or the Right Arrow key (or Page Down key) to move
forward.
To change the duration in seconds, minutes, or hours
1 Ensure that the timing display pop-up menu is set to Show Project Duration.
2 Double-click the timing display, then do one of the following:
• To set the duration in seconds, enter the number of seconds followed by a period. For
example, to create a 10-second project, enter “10.” (10 followed by a period) in the
field, then press Return.
• To set the duration in minutes, enter the number of minutes followed by two periods.
For example, to create a 10-minute project, enter “10..” (10 followed by two periods)
in the field, then press Return.
• To set the duration in hours, enter the number of hours followed by three periods. For
example, to create a 1-hour project, enter “10...” (10 followed by three period) in the
field, then press Return.
This procedure works in timecode as well as frames.
To move ahead or back in seconds, minutes, or hours
1 Ensure that the timing display pop-up menu is set to Show Current Time.
2 Double-click the timing display, then do one of the following:
• To move forward in seconds, enter a plus sign (+), enter the number of seconds to
move forward, then type a period. For example, to move 2 seconds ahead, enter “+2.”
(a period after the number two), then press Return. To move ahead in minutes, enter
two periods after the number, then press Return. To move ahead in hours, enter three
periods after the number, then press return.
• To move backward in seconds, enter a minus sign (–), then enter the number of seconds
to move backward, and then enter a period. For example, to move 2 seconds backward,
enter “–2.” in the field, then press Return. To move backward in minutes, enter two
periods after the number; to move backward in hours, enter three periods after the
number.
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Chapter 2
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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. Or you
can view the time in the video-standard, eight-digit timecode system, which runs like
a clock from 00:00:00:00 to 23:59:59:29. The first two digits represent hours; the second
two digits represent minutes; the third two digits represent seconds; and the final two
digits represent frames, as in HH:MM:SS:FF.
Some timecode formats skip numbers to accommodate the inexact frame rates of certain
video formats.
Frames and timecode counters have specific advantages, depending on the format in
which you are originating and finishing. For example, if you are designing a title sequence
for a 35mm film that must be exactly 720 frames, it is easier to set counters to frames.
If you are building a television spot to be transferred to videotape or broadcast, use
timecode so the frame numbers correspond with the numbers on the videotape.
Canvas
Most of the Motion workspace is occupied by the Canvas. Similar to the document window
in many other applications, the Canvas is the visual workspace where you arrange and
lay out objects in your composition. Adding layers and effects to your project is as simple
as dragging them from the Library or File Browser to the Canvas.
Use the transport controls at the bottom of the Canvas to view your project at regular
speed or frame by frame. On either side of the transport controls are buttons that show
and hide panes of the interface, turn audio playback on and off, and turn full-screen mode
on and off.
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55
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.
You can manipulate the items in the Canvas to modify physical attributes such as position,
scale, and rotation. And you can use familiar drag-and-drop techniques to apply behaviors
or filters to the items in the Canvas. See Using Behaviors and Using Filters to learn more
about how to use these features.
To resize the Canvas
Do one of the following:
µ
µ
µ
µ
Drag the toolbar (below the Canvas) up or down to shrink or enlarge the Canvas.
Choose Window > Hide Project Pane (or press F5).
Choose Window > Hide Timing Pane (or press F6).
Deselect the Show/Hide Timeline button, Show/Hide Audio Timeline button, and
Show/Hide Keyframe Editor button in the lower-right corner of the Motion project window.
Viewing the Canvas on a Second Display
You can show the Canvas on a second display. For more information, see Viewing the
Canvas or Timing Pane on a Second Display.
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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. For example, when you scale an object in the Canvas, the width
and height values are displayed.
To display the dynamic tool information in the status bar
1 In the Appearance pane of Motion Preferences, select the Dynamic Tool Info checkbox.
2 Adjust an object in the Canvas.
The status bar displays information about adjustment as you drag in the Canvas.
Color Information
Some motion graphics projects require you to match or align colors in your project. The
status bar can provide visual and numeric information about the color of the pixel under
the pointer, as well as the value of the alpha channel. No clicking is necessary—as you
move the pointer over the Canvas, the status bar updates.
To display the pixel color in the status bar
1 In the Appearance pane of Motion Preferences, select the Color checkbox.
2 Choose a color format from the Display Color As pop-up menu:
• RGB: The red, green, blue, and alpha components of the color are represented in values
from 0–1. Super-white values can exceed the 0–1 value range.
• RGB (percent): The red, green, blue, and alpha components of the color are represented
in values from 1–100.
• HSV: The hue is represented from 1–360, and the saturation and value (luminance) are
represented in values from 1–100.
3 Move the pointer over the Canvas.
The color information displayed in the status bar updates as you move the pointer.
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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.
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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.
Frame Rate Information
Part of the way Motion plays back a project in real time is by lowering the frame rate
when a sequence is too complex to render at full speed. You can monitor the current
frame rate—in frames per second (fps)—in the status bar.
Note: The frame rate appears in the status bar the only while a project is playing.
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To monitor the project’s playback frame rate
In the Appearance pane of Motion Preferences, select the “Frame rate (only during
playback)” checkbox.
When you play the project, the frame rate appears in the upper-left corner of the status
bar.
Canvas View Options
This section discusses how to view the Canvas using the view options pop-up menus in
the top-right corner of the Canvas.
Zoom Level pop-up menu: The Zoom Level pop-up menu offers several default zoom
levels. Zooming the Canvas does not change the size of the images in your project. It
changes the current view of the window.
You can set the view to percentages of 12, 25, 50, 100, 200, 400, 800, or 1600, or to Fit In
Window.
For more information on zooming in and out of the Canvas, see Canvas Zoom Level.
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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. Visible layers appear
in natural color and transparent areas reveal the background color as set in the
Properties Inspector for the project. The background color is black by default. To change
it, press Command-J, then choose a color from the Background Color control in the
Properties Inspector.
Note: The Background pop-up menu in the Properties Inspector must be set to Solid
to export the background color with the project. This option creates a solid alpha
channel on export (when exporting using a codec that supports alpha channels). When
the Background pop-up menu is set to Transparent, the color is visible in the Canvas,
but does not render as part of the alpha channel.
• Transparent: Shows the background area of the Canvas as transparent. A checkerboard
pattern appears by default where no images block the background.
• Alpha Overlay: Displays the image in normal color, but adds a red highlight over
transparent areas of the image.
• RGB Only: Displays the normal mix of red, green, and blue channels but displays
transparent areas (including semitransparent areas) as opaque.
• Red: Displays only the red channel as a range of black to white.
• Green: Displays only the green channel as a range of black to white.
• Blue: Displays only the blue channel as a range of black to white.
• Alpha: Displays the alpha (transparency) channel of the layers in the Canvas.
• Inverted Alpha: Displays an inverted view of the alpha (transparency) channel.
Render pop-up menu: The Render pop-up menu controls the quality and resolution of
the Canvas display and lets you enable or disable features that can impact playback
performance. When an option is active, a checkmark appears beside the menu item.
If a complex project is causing your computer to play at a very low frame rate, you can
make changes in this menu to reduce the strain on the processor. This frees you from
waiting for the image to be rendered at full resolution each time you make an adjustment,
allowing you to watch complex projects at high frame rates while you work.
Note: These options are also available in the View pull-down menu (View > Resolution,
Quality, or Render Options).
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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).
• Full: Displays the Canvas at full resolution (Shift-Q).
• Half: Displays the Canvas at half resolution.
• Quarter: Displays the Canvas at one-quarter resolution.
• Draft: Renders objects in the Canvas at a lower quality to allow optimal project
interactivity. There is no antialiasing.
• Normal: Renders objects in the Canvas at a medium quality. Shapes are antialiased,
but 3D intersections are not. Floating point (32-bit) footage is truncated to 16-bit. This
is the default setting.
• Best: Renders objects in the Canvas at best quality, which includes higher-quality image
resampling, antialiased intersections, antialiased particle edges, and sharper text.
• Custom: Allows you to set additional controls to customize render quality. Choosing
Custom opens the Advanced Quality Options dialog. For information on the settings
in the Advanced Quality Options dialog, see Advanced Quality Settings.
• Lighting: Turns the effect of lights in a project on or off. This setting does not turn off
lights in the Layers list (or light scene icons), but it disables light shading effects in the
Canvas.
• Shadows: Turns the effect of shadows in a project on or off.
• Reflections: Turns the effect of reflections in a project on or off.
• Depth of Field: Turns the effect of depth of field in a project on or off.
• Motion Blur: Enables/disables the preview of motion blur in the Canvas. Disabling
motion blur can result in a performance improvement.
Note: When creating an effect, title, transition, or generator template for use in
Final Cut Pro X, the Motion Blur item in the View pop-up menu controls whether motion
blur is turned on when the project is applied in Final Cut Pro.
• Field Rendering: Enables/disables field rendering. Field rendering is required for smooth
motion playback on many TV monitors. Field rendering nearly doubles rendering time,
so disabling this item can improve performance.
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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.) When Field Order is set to anything other than None, field rendering is used
in Final Cut Pro, regardless of the Field Rendering status in the View pop-up menu.
• Frame Blending: Enables/disables frame blending in the Canvas. Frame blending can
smooth the appearance of video frames by interpolating the pixels between adjacent
frames to create a smoother transition.
View and Overlay pop-up menu: The View and Overlay pop-up menu provides access
to the guides and controls that can be viewed in the Canvas. When an option is active,
a checkmark appears beside the menu item.
Note: Many of these options are also available in the View pull-down menu.
The View and Overlay pop-up menu displays the following options:
• Show Overlays: Turns the display of overlays in the Canvas on or off. This setting must
be on to view any other overlay items (grids, guides, and so on). To turn the camera
overlays on or off, use Show 3D Overlays.
Note: You can also press Command-Slash (/).
• Rulers: Turns display of the rulers along the edge of the Canvas on or off. You can
specify where the rulers appear in the Canvas section (Alignment) of Motion Preferences.
For more information on using rulers, see Canvas Rulers.
Note: You can also press Command-Shift-R.
• Grid: Turns a grid display on and off over the Canvas. You can set the spacing and color
of the grid in the Canvas section (Alignment) of Motion Preferences.
Note: You can also press Command-Apostrophe (’).
• Guides: Turns display of manually created guides on and off. Guides can only be created
if rulers are displayed. You can change the color of the guides in the Canvas pane
(Alignment) of Motion Preferences.
Note: You can also press Command-Semicolon (;).
• Dynamic Guides: Turns display of automatic dynamic guides on and off. These guides
appear when dragging a layer past edges of other layers when snapping is enabled
(choose View > Snap). You can change the color of dynamic guides in the Canvas pane
(Alignment) of Motion Preferences.
Note: You can also press Command-Shift-Colon (:).
• Safe Zones: Turns display of the title safe and action safe guides on and off. By default,
these guides are set at 80% and 90%. You can change these settings and the color of
the guides in the Canvas pane (Zones) of Motion Preferences.
Note: You can also press the Apostrophe key (’).
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• 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.
• Lines: Turns display of lines that outline an object on and off. Lines only appear on
selected objects.
• Animation Path: Turns animation paths on and off. These editable paths indicate the
route along which animated objects travel. If the selected object is not positionally
animated, this command does not appear to have any effect. If handles are not
displayed, the path curves cannot be adjusted in the Canvas. Except for the Motion
Path behavior, animation paths created by behaviors are for display only and are not
editable.
• Show 3D Overlays: Turns 3D overlays in the Canvas on and off, including Camera overlays,
3D View Tools, Compass, Inset View, 3D grid, and 3D scene icons. (3D overlays appear
in projects that contain 3D groups.)
Note: You can also press Command-Option-Slash (/).
• 3D View Tools: Turns the Camera menu and 3D View tools in the Canvas on and off.
Scene camera
Pan
Orbit
Dolly
Camera menu
3D View tools
• Compass: Turns the 3D Compass in the Canvas on and off. Using red, green, and blue
axes, the compass shows your current orientation in 3D space. The red axis is X
(horizontal), the green axis is Y (vertical), and the blue axis is Z (depth).
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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. When enabled, a temporary
window appears in the lower-right corner of the Canvas displaying an Active Camera
or Perspective view of the project, helping you stay oriented as you move objects in
3D space. In the 3D pane of Motion Preferences, you can change the size of the Inset
view, as well as control whether the Inset view appears on transform changes, on all
changes, or manually.
The Perspective view changes to fit the objects in the Inset view (even if objects are
no longer visible in the main window). This view is triggered when you are looking
through the camera. The Active view is triggered when you use a camera view other
than the active camera (such as Front). For more information on the Inset view, see
Inset View.
Inset view
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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. For more information on using cameras, see Cameras.
• 3D Grid: Turns the grid in the Canvas on and off. The 3D grid helps you stay oriented
and can be used to guide the placement of objects in your project. The 3D grid appears
when you are in a 3D workspace.
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• 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.
Light
Camera
• Correct for Aspect Ratio: Applies an artificial distortion of the Canvas in projects with
nonsquare pixels. When the setting is on, the computer monitor simulates what a TV
monitor displays. When the setting is off, projects with nonsquare pixels appear
stretched. This is because computer monitors have square pixels. This setting does not
modify the output of the project.
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• 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.
• Save View Defaults: Saves the current state of all settings in this menu as the default
state for new projects.
View Layouts pop-up menu: The View Layouts pop-up menu lets you specify how to
view your project in the Canvas. You can view the Canvas as a single workspace or choose
from available window arrangements in the menu.
Note: Although the workspace views are available for 2D projects, they are most useful
when working in 3D space.
• Single: The default value, displays a single window in the Canvas.
• Two-up, side by side: Displays two windows in the Canvas, one next to the other.
• Two-up, top and bottom: Displays two windows in the Canvas, one on top of the other.
• Three-up, large window below: Displays three windows, two next to each other on top
and a larger window below.
• Three-up, large window right: Displays three windows, two stacked on the left side and
a larger window spanning the right side.
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• 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. It contains the following options:
Quality: Sets rendering quality. These options are identical to the Quality settings in the
Render pop-up menu.
For more information on the Render popup menu, see Canvas View Options.
Choose one of four settings from this pop-up menu. Each setting activates different
options in the dialog.
• Draft: None of the quality options are selected, and Text Quality is set to Low. This
option allows optimal project interactivity.
• Normal: “Shape antialiasing” is selected, and Text Quality is set to Medium. This option
allows project interactivity that is slower than Draft, but much faster than Best.
• Best: “High quality resampling,” “Shape antialiasing,” and “Antialias 3D intersections”
are selected. Text render quality is set to High. This option slows down project
interactivity.
• Custom: No options are selected until you select individual quality settings in the
Advanced Quality Options dialog.
High Quality Resampling: Turns on high-quality resampling (increasing or reducing the
number of pixels in an image).
Text Quality: Sets text render quality to Low, Medium, or High. When High is selected,
project interactivity may slow.
Shape antialiasing: Renders shapes at a higher resolution, then scales objects back to
regular resolution to ensure smooth edges.
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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. If you have a Multi-Touch device, you can pinch
closed to zoom out and pinch open to zoom in.
Zooming the Canvas does not change the size of the images in your project. It only
changes the view of the entire window.
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To zoom in or out on the Canvas
Choose a zoom level from the Zoom Level pop-up menu.
In the following image, 25% is chosen from the Zoom Level pop-up menu.
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To use the dynamic zoom mode
Holding down the Space bar and Command key (in that order), drag diagonally in the
Canvas. The zoom occurs around the spot clicked in the Canvas.
To zoom in and out using a Multi-Touch device
Pinch closed to zoom out or pinch open to zoom in.
After you zoom in, use a two-finger swipe in any direction to scroll around.
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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: To pan the Canvas without selecting the Pan tool, hold down the Space bar and
drag in the Canvas.
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To zoom the Canvas so the viewable area of the project fills the window
Choose Fit In Window from the Zoom Level pop-up menu.
To reset the Canvas Zoom level
Do one of the following:
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Choose 100% from the Zoom Level pop-up menu.
In the toolbar, double-click the Zoom tool (located in the Pan tool pop-up menu).
To reset the Canvas Pan
In the toolbar, double-click the Pan tool.
Canvas Rulers
Using rulers in the Canvas can help you compose or align elements of your project, as
well as snap objects to rulers.
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To turn on rulers
In the View pop-up menu, enable Rulers (or press Command-Shift-R).
When Rulers are enabled, a checkmark appears next to the item in the pop-up menu.
By default, rulers appear along the left and top sides of the Canvas. You can change the
location of the rulers in the Canvas pane of Motion Preferences.
To change the location of the rulers
1 Choose Motion > Preferences.
2 In the Canvas pane, click Alignment, then choose a ruler layout from the Ruler Location
pop-up menu.
To add a horizontal or vertical guide to the Canvas
1 Click in the gray area of the horizontal or vertical ruler, and drag into the Canvas.
As you drag, the value of the guide is displayed in the Canvas.
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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.
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To remove a guide from the Canvas
Drag the guide off the Canvas.
To delete the guide, drag into the Project pane or Timing pane areas, then release the
mouse button.
To change the color of the guides
1 Choose Motion > Preferences.
2 In the Canvas pane, click Alignment, click or Control-click the Guide Color well, then select
a color.
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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. The upper-left corner of the Canvas contains
the Camera menu, where you can choose which camera to use to view the project in 3D
space.
Important: You must add at least one camera or light to your project to create a 3D
workspace.
To add a camera to your project
1 Click the New Camera button in the toolbar.
A dialog appears that prompts you to switch your 2D groups to 3D groups.
2 Click Switch to 3D to add a camera and create a 3D project.
If you click Keep as 2D, a camera is added to your project, but groups remain 2D groups.
To add a light to your project
1 Click the New Light button in the toolbar.
A dialog appears that prompts you to switch your 2D groups to 3D groups.
2 Click Switch to 3D to add the light and create a 3D project.
If you click Keep as 2D, a light is added to your project, but all groups remain 2D groups.
Lights have no effect in 2D projects.
Manipulating the 3D View
The 3D workspace provides tools for manually changing your view or viewing a scene
from a reference camera, such as Front, Back, Top, Bottom, and so on. You can also choose
to view the scene through any camera added to your project.
Note: The Left, Right, Top, and Bottom camera views are orthogonal views. You cannot
animate or export these views.
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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. For more information on the
Isolate feature, see Layers List.
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To use the 3D View tools
Drag the Pan, Orbit, or Dolly tool in the 3D View tools.
Like a camera move, the view in the Canvas moves, rotates, or zooms.
Scene camera
Orbit
Pan
Dolly
Important: The gray scene camera icon appears to the left the 3D View tools when a
user-created scene camera is active. A scene camera is used for rendering specific camera
views. This icon is a reminder (not a button or control) that when you use the 3D View
tools, you are moving the scene camera, which affects your project’s output.
To reset your camera
Do one of the following:
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Double-click the Pan, Orbit, or Dolly tool.
Click the Camera menu (in the upper-left corner of the Canvas) and choose Reset View.
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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.
Scale handles appear around the edge of the object, and three colored 3D axis handles
appear at the anchor point of the object. Each arrow-shaped handle corresponds to an
axis along which you can move the object.
3D axis handles appear
as colored arrows.
2 Drag the relevant transform handle and the object moves along the selected axis.
The red axis is X (horizontal), the green axis is Y (vertical), and the blue axis is Z (depth).
To rotate an object in 3D space
1 Select the object to transform, then select the 3D Transform tool in the toolbar.
Scale handles appear around the edge of the object, and three colored 3D axis handles
appear at the anchor point of the object. The three small circles near the axis handles are
3D rotation handles. Each rotation handle corresponds to an axis around which you can
rotate the object.
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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.
To reset a transformed object
1 Select the object to reset.
2 In the Properties Inspector for the camera, click the Transform parameters reset button.
For more information on 3D transforms, see 3D Transform Tools.
Mini-Timeline
The mini-Timeline is above the transport controls and below the Canvas. The mini-Timeline
provides an at-a-glance look at where selected objects fit into the project as a whole. The
mini-Timeline also provides controls to perform quick edits such as moving, trimming,
and slipping objects without opening the Timing pane.
Mini-Timeline
The playhead indicates which frame you are viewing, and shows In and Out markers to
identify the play range. The length of the mini-Timeline represents the duration of the
project.
You can add objects (such as clips, images, particle emitters, and so on) to a project at a
specific time by dragging items from the File Browser or Library to the mini-Timeline.
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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.
To shorten or lengthen an object
Select the object, position the pointer over the beginning or ending edge of the object
in the mini-Timeline, then drag the edge of the object bar to change its duration.
A tooltip appears to indicate the In or Out point and the amount of change your edit is
causing.
For more information on using the mini-TImeline, see Mini-Timeline.
Canvas Buttons and Transport Controls
In the lower portion of the Canvas, there are several buttons that modify the workspace
and let you control playback of the project.
The first two buttons modify the workspace and audio playback:
Show/Hide Project pane: Shows and hides the Project pane (which includes the Layers,
Media, and Audio lists). The keyboard shortcut is F5.
Note: If you use Multi-Touch device, three-finger swipe right or left to show or hide the
Project pane.
Play/Mute audio: Turns audio playback on or off.
Note: Turning audio off can improve your playback performance.
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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.
Play from start: Plays from the play range In point to the play range Out point, letting
you watch a portion of the entire project. To learn how to define the In and Out points,
see Defining the Play Range.
Play/Pause: Starts and stops playback. The keyboard shortcut is the Space bar.
Record: Enables or disables animation recording. When recording is enabled, the values
for animateable parameters appear red in the Inspector. This is to inform you that any
change you make to a parameter (such as moving an object in the Canvas or adjusting
a slider) creates a keyframe.
Go to previous frame: Moves the playhead backward by one frame. Clicking the button
(or holding down the shortcut key) rewinds the project one frame at a time. The keyboard
shortcut is the Left Arrow (or Page Up) key.
Note: If you have a Multi-Touch trackpad, you can rotate left to go to the previous frame.
Go to next frame: Advances the playhead by one frame. Clicking the button (or holding
down the shortcut key) advances the project one frame at a time. The keyboard shortcut
is the Right Arrow (or Page Down) key.
Note: If you have a Multi-Touch trackpad, you can rotate right to go to the next frame.
The last two buttons modify the Canvas workspace and looping of video playback.
Player Mode: Hides the File Browser, Library, Inspector, Project pane, and Timing pane
to maximize Canvas space. For more information, see Player Mode.
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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. In this mode, the menus, toolbar, and timing display remain
active. The Show/Hide Timeline, Show/Hide Audio Timeline, and Show/Hide Keyframe
Editor buttons at the lower-right corner of the workspace also remain available, as does
the Show/Hide File Browser/Library/Inspector button at the lower-left corner of the
workspace.
To switch into player mode
Do one of the following:
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Choose Window > Player Mode.
Click the Player Mode button above the toolbar.
Press F8.
To return to normal view
Do one of the following:
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Position your pointer over the menu, then choose Window > Player Mode again.
Press F8 again.
RAM Preview
When you play a project in the Canvas, Motion performs complex calculations to represent
the objects and effects that appear in each frame. This is called rendering. The project
plays back as quickly as possible up to the frame rate specified in the Properties Inspector.
With a very complex project, the frame rate can be significantly reduced, making it difficult
to see how the project looks when played at full frame rate.
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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. The section that has been
rendered is stored in RAM.
Note: Because some sections of a project may be more complex than others, the Time
remaining value may be somewhat inaccurate.
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To RAM Preview your entire project
Choose Mark > RAM Preview > All.
The RAM Preview dialog appears, and displays a progress bar. When RAM Preview is
completed, the dialog closes.
When a section of your project is stored in RAM, a green glow appears along the bottom
of the Timeline ruler and the mini-Timeline.
RAM Preview indicator
in mini-Timeline
RAM Preview indicator
in Timeline ruler
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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.
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To RAM Preview the play range
Choose Mark > RAM Preview > Play Range.
The RAM Preview dialog appears, and displays a progress bar. When RAM Preview is
completed, the dialog closes.
To RAM Preview a selection
1 In the Timeline, Command-Option-drag the region to preview.
A highlight appears over the selected frames.
For more information on regions, see Working with Regions.
2 Choose Mark > RAM Preview > Selection.
The RAM Preview dialog appears. When RAM Preview is completed, the dialog closes.
Clearing RAM Preview
You can manually delete RAM Preview to make room for a new RAM Preview or to free
up RAM for other operations.
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To clear RAM Preview
Choose Mark > RAM Preview > Clear RAM Preview.
Canvas Shortcut Menu
When no objects are selected, the Canvas has its own shortcut menu that allows you to
access several useful tools.
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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 Properties: Opens the Properties Inspector for the project, which allows you to
modify the project’s background color, aspect ratio, field rendering, motion blur,
reflections, and so on. For more information on project properties, see Project Properties.
Viewing the Canvas or Timing Pane on a Second Display
If you have two displays connected to your computer, you can show the Canvas or Timing
pane on the second display.
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To show the Canvas on a second display
Choose Window > Show Canvas on Second Display.
The Canvas and Project pane (Layers, Media, and Audio lists) appear on the second display.
Drag the right edge of the Project pane left or right to resize the Canvas and Project pane.
To show the Canvas in the main window
Do one of the following:
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Choose Window > Show Canvas in the Main Window.
Choose Window > Revert to Original Layout.
To show the Timing pane on a second display
Choose Window > Show Timing Pane on Second Display.
The Timing pane (Timeline, Audio Timeline, and Keyframe Editor) appear on the second
display.
Drag the right edge of the Timeline layers list left or right to resize the Timing pane and
layers list.
Note: Use the Show/Hide Timeline button, Show/Hide Audio Timeline button, and
Show/Hide Keyframe Editor button in the lower-right corner of the Timing pane to show
or hide the Timing pane interface elements.
To show the Timing pane in the main window
Do one of the following:
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Choose Window > Show Timing Pane in the Main Window.
Choose Window > Revert to Original Layout.
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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.
More than simple lists of items in a project, these panes let you organize key attributes
of a motion graphics composition, including the stacking order of image layers, audio
settings, and source media settings.
To collapse or expand the Project pane
Do one of the following:
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Choose Window > Show Project Pane (or press F5).
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Use a horizontal three-finger swipe on a Multi-Touch device.
Click the Show/Hide Project Pane button in the bottom of the Canvas.
When the Project pane collapses, the Canvas expands.
To resize the Project pane
Do one of the following:
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Drag the right edge of the pane left or right.
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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).
Beneath the Project object are the groups, image layers, and effects objects that combine
to form the composition displayed in the Canvas. In a 2D project, the stacking order of
layers and groups in the Layers list determines which layers appear in front of others in
the Canvas.
The hierarchy of items in the list shows which images are in front of or behind other
images in the Canvas. All image layers and effects objects—except for cameras, lights,
rigs, and the Project object—must reside in groups. Masks, behaviors, and effects can be
applied to groups or to layers. Applied masks, behaviors, and effects are listed beneath
the group or layer to which they are applied. The masks, behaviors, and effects appear
indented in the list.
The Layers list displays several icons that indicate linked audio, 2D/3D status, and lock
status. Similarly, layers modified by masks, behaviors, or filters display icons for each effect.
Clicking mask, behavior, or filter icons turns the display of these objects, as well their
effect on the project, on or off.
To display the Layers list
Do one of the following:
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If the Project pane is visible, click Layers at the top of the pane.
Choose Window > Layers (or press Command-4).
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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. The group thumbnail represents the
cumulative result of the composite up to that point in the project. You can turn the display
of the preview on or off in the Layers Columns section of the View menu.
Name field: Identifies the object by name. To edit the name, double-click the text area
of a selected object, enter a new name, then press Return. In projects containing a camera,
the Isolate button appears in the Name column.
Isolate button: Appears for a selected layer, group, or camera in a project that contains
a camera. The button has an active and inactive state. Clicking the Isolate button for a
layer or group sets that object to its original face-forward orientation (so you can apply
a mask, for example). Clicking the button again returns to the previous view. Clicking the
Isolate button for a camera takes you to that camera’s view.
Note: When a group or layer is isolated, the name of the item replaces the current camera
listing in the Camera menu (in the upper-left corner of the Canvas).
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.
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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 turn off the effect
of the filter, click the icon. A red slash appears through a disabled filter’s 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.
Lock icon: Locks an object to prevent changes from affecting that object. Locking a group
prevents changes to layers and effects in that group. When the lock is disabled, its icon
appears open.
Opacity slider: Displays the opacity (transparency) of the group or layer. You can adjust
the slider to change the item’s opacity. This slider is not displayed by default. To display
the Opacity slider in the Layers list, choose View > Layers Columns > Opacity.
Blend Mode pop-up menu: Displays the blend mode of the layer or group. Click the
pop-up menu to choose a blend mode. You can turn the display of the blend mode
pop-up menu on or off in the Layers Columns section of the View menu. This pop-up
menu is not displayed by default. To display the Blend Mode pop-up menu in the Layers
list, choose View > Layers Columns > Blend Modes. For more information on blend modes,
see Using Blend Modes.
Working in the Layers List
You can customize the Layers list to accommodate working styles and the needs of
projects.
Adjusting the Height of Layers List Rows
There are two ways to adjust the row height for objects displayed in the Layers list.
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To adjust row height
Do one of the following:
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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.
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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.
Adding and Removing Groups
The Layers list has controls to add groups and to remove objects from the project.
To create a group in the Layers list
Do one of the following:
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Click the Add button (+) in the lower-left corner of the Project pane.
Choose Object > New Group (or press Command-Shift-N).
An empty group is added above the current group.
Note: You can also create groups when dragging files to the Layers list from the File
Browser or Library. For more information, see Adding Media Files to a Project.
To remove an object from the Layers list
Do one of the following:
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Control-click the object to remove, then choose Cut or Delete from the shortcut menu.
Select the object to remove, then choose Edit > Delete (or press Delete) or Edit > Cut.
The object is removed. This action removes the object from the Canvas as well.
Note: If you delete a media file (an imported image, image sequence, audio file, or
QuickTime movie) from the project, the file is also removed from the Media list unless
“Automatically manage unused media” is deselected in the General pane of Motion
Preferences. When this setting is turned off, media files are deleted from the Layers list
(and Canvas) but remain in the project in the Media list. Drag an item from the Media list
into the Canvas to add it to the Layers list.
Filtering the Layers List View
As a project becomes more complex, you might want to hide some objects from view to
focus on a few key objects. You can filter the Layer’s list using the Search button in the
lower-left corner of the Project pane.
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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.
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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.
Hiding and Showing Effects
Masks, behaviors, and filters can be turned on and off in the Layers list by using the
buttons at the bottom-right corner of the list.
Note: Hiding the effect in the Layers list does not disable it from view in the Canvas nor
prevent you from modifying the effect’s parameters or manipulating its onscreen controls.
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To turn on and off the display of masks in the Layers list
Click the Show/Hide Masks button.
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To turn on and off the display of behaviors in the Layers list
Click the Show/Hide Behaviors button.
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To turn on and off the display of filters in the Layers list
Click the Show/Hide Filters button.
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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.
• Duplicate: Creates a layer identical to the selection.
• Delete: Removes the selected layer.
• Group: Places the selected layers into a group. (For more information on working with
groups, see Grouping and Ungrouping Layers.)
• Ungroup: Restores the components to their ungrouped state if the selection contains
a group.
• Active: Turns the layer on or off. This is equivalent to clicking the activation checkbox
in the On column.
• Solo: Hides other layers in the project. When a layer is soloed, checkboxes for other
layers and groups are dimmed. You can solo multiple layers and groups at a time.
• Isolate: Isolates the selected layer, group, or camera (when a project contains a camera).
For a layer or group, choosing Isolate changes the item back to its original face-forward
orientation to allow the application of a mask, for example. Clicking a camera’s Isolate
button activates that camera’s view. This is the same as clicking the Isolate icon in the
Name column.
• 3D Group: Switches the group from 2D mode to 3D mode.
• Blend Mode: Sets the blend mode for the selected layer. This is equivalent to setting a
value using the Blend Mode pop-up menu (when chosen in View > Layers Columns).
• Add Image Mask: Adds an image mask to the selected layer. An image mask creates
transparency in another object by deriving an alpha channel from another layer, such
as a shape, text, movie, or still image. For more information, see Applying Image Masks
to a Layer.
• Make Clone Layer: Clones the selected layer. Like the Duplicate command, Make Clone
Layer lets you make copies of a selected layer. However, copies created by the Make
Clone Layer command are automatically modified to match changes made to the
original layer. For more information on cloning layers, see Making Clone Layers.
• Reveal Source Media: Opens the Media list and highlights the media file associated with
the selected clip.
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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.
• Project Properties: Opens the Properties Inspector for the project, which allows you to
modify the project’s background color, aspect ratio, field rendering, motion blur,
reflections, and so on. For more information on project properties, see Project Properties.
Media List
The second list in the Project pane contains a complete list of all media files (audio, image,
image sequence, and QuickTime movie files) in the project. The items in this list are links
to source media files that remain on your hard disk or networked hard disk. Applied
effects (such as filters or behaviors) and graphics content created in Motion (such as
masks, shapes, or text), do not appear in the Media list.
To display the Media list
Do one of the following:
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If the Project pane is visible, click Media at the top of the pane.
Choose Window > Media (or press Command-5).
To display additional columns in the Media list, drag the scroller at the bottom of the
Media list.
Drag to scroll Media list items.
For descriptions of the Media list column headers, see View Menu.
Working in the Media List
You can customize the Media list to organize and manage media in your project.
Showing and Hiding Columns
You can choose which Media list columns are displayed or hidden.
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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.
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To reorder columns
Drag the column left or right to a new position.
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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.
To add a file via the Media list
Do one of the following:
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Click the Add button (+) in the lower-left corner of the Project pane; then, in the Import
Files dialog, select a file to add and click Import.
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With the Media list active, choose File > Import (or press Command-I); then, in the Import
Files dialog, select a file to add and click Import.
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Control-click in the Media list, choose Import Media from the shortcut menu, then add a
file via the Import Files dialog.
The file is added to the Media list.
To import an image sequence, turn on the Image Sequence checkbox. If this checkbox
is deselected, only files selected in the Import dialog are imported. To select multiple
files, Shift-click the files; to select noncontiguous files, Command-click the files.
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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:
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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.
Additional Options in the Media List
The Media list shortcut menu gives you access to commands to help organize and
manipulate layers. Control-click an item in the Media list, then choose a command from
the shortcut menu. The command is applied to the layer you Control-click.
The menu contains the following commands:
• Open in Viewer: Opens the selected item in the viewer window. This is equivalent to
double-clicking a file in the File Browser.
• Open in QuickTime Player: Opens the selected item in the QuickTime Player application.
• Reveal in Finder: Switches out of Motion, and opens a Finder window where the Media
file resides on disk.
• Reconnect Media: Opens the Reconnect Media dialog where you can assign a source
file on disk to correspond to the media file in Motion.
• Cut: Removes the file and places it on the Clipboard.
• Copy: Copies the file to the Clipboard.
• Paste: Places the contents of the Clipboard in the current location.
• Duplicate: Creates a file identical to the selected file.
• Delete: Removes the selected file.
When no items are selected in the Media list, the shortcut menu provides this set of
commands:
• Import Media: Imports media into the Media list but does not place the media in the
Canvas or Layers list.
• Reconnect Missing Media: Reconnects offline media. When a source media file is moved
from where it was stored on disk, you must reconnect the media to your project. This
command displays a dialog that lets you navigate to the new location of the file.
• Remove Unused Media: Removes the source media not used in the project from the
Media list.
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• 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.
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To sort items in a column by file type
Click the column header.
Click the column header to sort
by that column’s data type.
The arrow in the column
header indicates the
direction of the sort.
Note: Sorting does not work in the Layers list or Timeline layers list.
The layers are sorted in the column and a small arrow appears indicating the direction
of the sort.
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To reverse the direction of the sort
Click the header of the column that contains the small arrow.
The arrow points in the opposite direction, and the data is sorted in reverse order.
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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:
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If the Project pane is visible, click Audio at the top of the pane.
Choose Window > Audio (or press Command-6).
Controls in the Audio List
The Audio list contains display and editable information about audio components of the
project:
Activation checkbox: Turns the audio track on or off.
Name field: Identifies the file by name. To edit the name, double-click the text area of a
selected file, enter a name, then press Return.
Level slider: Controls the level (volume) of the file. Numbers are measured in decibels
(dB). Modify the Level parameter by dragging the slider, by dragging in the value field,
or by entering a numerical value in the field.
Audio Output pop-up menu: Specifies audio output channels such as Stereo, Left, Right,
Center, and so on. Choose an output channel for the audio track.
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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. You can solo more than one audio
track to hear the soloed files rather than the entire mix.
Link icon: Disconnects an audio track from its video source. You can unlink video and
audio to retime them separately or to delete the audio track.
Lock icon: Locks an audio track to prevent changes. This column can also include a link
icon when a file has a corresponding video element.
Working in the Audio List
You can customize the Audio list to manage audio assets.
Adding and Removing Audio Files
The Audio list has controls to add files and to remove files from the project.
To add an audio file to the project
Do one of the following:
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Click the Add button (+) in the lower-left corner of the Project pane; then, in the Import
Files dialog, navigate to the file to import, select the file, and click OK.
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With the Audio list active, choose File > Import (or press Command-I); then, in the Import
Files dialog, navigate to an audio file, select the file, and click Import.
The file is added to the project (the Audio and Media lists).
Note: When importing a QuickTime movie that contains multiple audio tracks, select Mix
to Stereo in the Import Files dialog to import the file with a single audio track. Select
Import All Tracks to import the file with individual tracks.
To remove a file from the Audio list
Do one of the following:
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Control-click the file, then choose Delete from the shortcut menu.
Select the file to remove, then choose Edit > Delete (or press Delete).
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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.
Additional Options in the Audio List
The Audio list shortcut menu gives you access to commands to help organize and
manipulate layers. Control-click a track in the Audio list, then choose a command from
the shortcut menu. The command is applied to the track you Control-clicked. The menu
contains the following commands:
• Cut: Removes the file and places it in the Clipboard.
• Copy: Copies the file to the Clipboard.
• Paste: Places the contents of the Clipboard in the current location.
• Duplicate: Creates a file identical to the original file.
• Delete: Removes the selected file.
• Active: Turns the file on and off. This is equivalent to clicking the activation checkbox
in the On column.
• Mute: Mutes the track. This is equivalent to clicking the Mute button in the Status
column.
• Solo: Solos the track. This is equivalent to clicking the Solo button in the Status column.
• Reveal Source Media: Opens the Media list and highlights the media file associated with
the selected clip.
When no items are selected in the list, the shortcut menu provides this set of commands:
• Import Audio: Opens the Import Files dialog, which you can use to navigate to the
audio file to import.
• Paste: Pastes any audio data in the Clipboard into the Audio list and Media list.
• Project Properties: Opens the Properties Inspector for the project, where you can set
project information such as project width and height, bit depth, aspect ratio, background
color, render settings, and much more. For more information on the Properties Inspector,
see Creating a Blank Motion Project.
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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.
Level slider
Link icon
Mute button
Clipping indicators
Level meters
Lock icon
Audio output
pop-up menu
Pan dial
The Master track is turned on by default. When it is deselected, no sound is audible when
you play the project, and no audio is included when you export your project. When it is
turned on, all audio tracks that are turned on are included in your export.
To the right of the Master track controls are stereo level meters that display the combined
level of all audible tracks.
Except for an editable name field and a solo icon, the Master track has the same controls
as the individual audio tracks. For more information, see Working with Audio.
Timing Pane
The Timing pane, located at the bottom of the Motion workspace, has three components,
each to control a different timing aspect of a project:
• Timeline: Provides an overview of objects in the project and how they are laid out over
time.
• Keyframe Editor: Displays the animation curves for animated parameters and effects.
• Audio Timeline: Provides an overview of audio components of the project and how
they are laid out over time.
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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:
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Choose Window > Show Timing Pane (or press F6).
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Choose Window > Video Timeline (Command-7), Keyframe Editor (Command-9), or Audio
Timeline (Command-8).
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When using a Multi-Touch device, swipe up or down with three fingers to show or hide
the Timing pane.
Click one (or more) of the Show/Hide Timeline, Show/Hide Audio Timeline, or Show/Hide
Keyframe Editor buttons in the lower-right corner of the Motion project window.
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To resize the Timing pane
Do one of the following:
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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.
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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.
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Deselect the “i” button in the lower-left corner of the Motion Project window to widen
the Timing pane.
Viewing the Timing Pane on a Second Display
You can show the Timing pane on a second display. For more information, see Viewing
the Canvas or Timing Pane on a Second Display.
Timeline
The Timeline displays the visual elements in your project (the layers) and cameras, lights,
keyframes, and effects such as masks, behaviors, and filters. The left side contains the
Timeline layers list. The right side contains the Timeline track area. For more information
on using the Timeline, see Using the Timeline.
To display the Timeline
Do one of the following:
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Choose Window > Video Timeline (or press Command-7).
Select the Show/Hide Timeline button in the lower-right corner of the workspace.
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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.
Name field: Identifies the object by name. (This column is identical to the Name field in
the Layers list.) To edit the name, double-click the text area of an object, enter a name,
then press Return. In projects that contain a camera, the Isolate button also appears in
this column.
Isolate button: Appears for a layer, group, or camera in a project that contains a camera.
The button has an active and inactive state. Clicking the Isolate button for a layer or group
sets that object to its original face-forward orientation (so you can apply a mask, for
example). Clicking the button again returns to the previous view. Clicking the Isolate
button for a camera takes you to that camera’s view.
Note: When a group or layer is isolated, the name of the item replaces the current camera
listing in the Camera menu (in the upper-left corner of the Canvas).
Mask icon: Appears when a mask is applied to the layer or group. To turn off 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
behavior, click the icon. A red slash appears through a disabled behavior’s icon.
Filter icon: Appears when a filter is applied to the layer or group. To turn off the filter,
click the icon. A red slash appears through a disabled filter’s icon.
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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.
Lock icon: Locks an object to prevent changes from affecting that object. Locking a group
prevents changes to layers and effects in that group. When the lock is disabled, it appears
“open.”
Timeline Row Size pop-up menu (unlabeled): Sets the Timeline tracks and Timeline
layers list items display size to Mini, Small, Medium, or Large.
Note: You can also position the pointer over any horizontal row separator and drag up
to decrease or down to increase the height of all tracks.
Show/Hide Effects Buttons
Show/Hide Masks button: Turns the display of masks on or off in the list and Timeline.
Showing or hiding masks in the list does not control whether the mask effects appear in
the Canvas. This button is located in the upper-right corner of the Timeline layers list.
Show/Hide Behaviors button: Turns the display of behaviors on or off in the list and
Timeline. Showing or hiding behaviors in the list does not control whether the behavior
affects project objects. This button is located in the upper-right corner of the Timeline
layers list.
Show/Hide Filters button: Turns the display of filters on or off in the list and Timeline.
Showing or hiding filters in the list does not control whether the filter effects appear in
the Canvas. This button is located in the upper-right corner of the Timeline layers list.
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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.
When a group containing more than one object is selected, the group track displays an
indicator that identifies how many objects reside in that group. Layers, cameras, and
lights are counted in that total. Effects such as masks, behaviors, and filters are not counted.
Timeline Ruler
At the top of the track area is the ruler that provides a gauge for the positions and
durations of objects in your project.
Project marker
In point
Out point
Playhead
The ruler can contain indicators to help mark important frames or sections of the project
such as the playhead, play range indicators (also called In and Out points), and markers.
The ruler can be viewed in frames or timecode.
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To change the ruler view format between timecode and frame numbers
Click the downward arrow in the timing display (above the ruler), then choose Show
Frames or Show Timecode from the pop-up menu.
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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.
Markers can be added to your project to identify an important frame or range of frames.
For more information on creating and using markers, see Adding Markers.
Working in the Timeline
The Timeline can be customized to facilitate working styles and project needs. For
information on navigating frames, see Timing Display.
Adding and Removing Objects
You can add items to your project by dragging them from the Library or File Browser to
the Timeline. You can also delete items from the Timeline.
To add an item to the Timeline
1 Drag an object from the File Browser or Library to the Timeline track area.
As you drag in the track area, a tooltip appears at the pointer to tell you the frame number.
2 When you reach the frame where you want the layer to start, position the pointer over
the layer you want as the background, and hold down the mouse button until the drop
menu appears.
3 Choose an option from the drop menu:
• Choose Composite to add the item to the project in the active group.
• Choose Insert to push the existing track forward in time to make room for the new
item.
• Choose Overwrite to replace the existing object with the new object.
• Choose Exchange to exchange an object using the original object’s duration. This option
is only available when you exchange the same type of media (such as a QuickTime
movie or image sequence).
For more information using the drop menu, see Adding Layers to the Track Area.
To remove an object from the Timeline
Do one of the following:
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In the track area, select the object to remove, then choose Edit > Delete (or press Delete).
Control-click the item to remove, then choose Delete from the shortcut menu.
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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.
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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.
To move an object and snap it to neighboring items
Do one of the following:
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Select the Snapping button in the upper-right corner of the Timeline.
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Press Shift as you drag the item in the Timeline.
Snap-to lines appear and the edges of the clip line up with these lines.
Turning Effects On and Off
As in the Layers list of the Project pane, when you apply a mask, behavior, or filter to an
image layer, an icon appears next to the layer name. Mask, behavior, and filter icons
control the visibility of those effects in the Canvas.
Masks
Behaviors
Filters
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To turn masks off for a layer or group
Click the mask icon in the Timeline layers list.
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A red slash appears over the icon and the effect is temporarily turned off.
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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.
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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.
Showing and Hiding Effects
Use the buttons at the top of the Timeline layers to list show or hide effects such as masks,
filters, and behaviors. When effects are hidden, their timebars do not appear in the track
area. Showing or hiding effects in the list does not control whether the effect appears in
the Canvas.
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To turn on or off the display of masks in the Timeline
Click the Show/Hide Masks button at the top of the Timeline layers list.
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To turn on or off the display of behaviors in the Timeline
Click the Show/Hide Behaviors button at the top of the Timeline layers list.
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To turn on or off the display of filters in the Timeline
Click the Show/Hide Filters button at the top of the Timeline layers list.
Showing and Hiding Keyframes
Additionally, the Timeline lets you display keyframes. When keyframes are shown, each
track becomes a little taller, and the bottom section is used to show keyframes that exist
for the layer.
Keyframe
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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.
To adjust track height
Do one of the following:
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In the Timeline layers list, position the pointer over a horizontal row separator and drag
up to decrease or down to increase the height of all tracks.
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Choose Mini, Small, Medium, or Large from the pop-up menu in the bottom-left corner
of the Timeline layers list.
Note: Dragging the row separators up or down sets the pop-up menu to Custom.
To change the width of the Timeline
1 Position the pointer over the rightmost edge of the Timeline layers list.
2 When the pointer changes to the column adjust pointer, drag right to narrow or left to
widen the track area.
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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
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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. For more information on how to perform editing in the Timeline, see Editing
Objects in the Timeline.
Zooming in the Timeline
A zoom/scroll control at the bottom of the track area lets you zoom in and out to focus
on detail in the Timeline. Below the zoom/scroll control is the zoom slider, which zooms
in and out based on the location of the playhead.
Scroller
Handle
Zoom slider
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To zoom the Timeline using the zoom/scroll control
Do one of the following:
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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.
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Drag the control left to zoom right or right to zoom left.
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To zoom the Timeline using the zoom slider
Drag the slider to the left to zoom out and to the right to zoom in.
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To zoom the Timeline using a Multi-Touch device
Pinch open to zoom in, pinch closed to zoom out.
After you zoom in, use two-finger swipes to scroll left or right.
To zoom the Timeline to fit the entire project or play range
Do one of the following:
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Click the Zoom Time View button in the upper-right corner of the Timeline.
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Choose View > Zoom Time View > To Project.
Note: The Zoom Time View items in the View menu are dimmed until you select an object
in the Timeline.
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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.
2 In the Timeline section of the Appearance pane, choose an item from the Timebar Display
pop-up menu:
• Name: Displays the name of the object on the track.
• Name Plus Thumbnail: Displays the name of the object and a single thumbnail on the
track.
• Filmstrip: Displays frames of the object over the track.
Regardless of the Timebar Display setting, tracks for cameras, lights, behaviors, and filters
are labeled with names only. When the Timebar Display is set to Filmstrip, your processing
time is increased.
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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.
Audio behaviors applied to tracks appear as purple bars in the Audio Timeline and
mini-Timeline.
For complete information on using audio, see Working with Audio.
To display the Audio Timeline
Do one of the following:
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Choose Window > Audio Timeline (or press Command-9).
Click the Show/Hide Audio Timeline button in the lower right corner of the workspace.
Note: If you have a Multi-Touch device, and the Audio Timeline (or Timeline and Audio
Timeline) is visible, swipe up or down with three fingers to show or hide the Audio
Timeline.
You can choose whether to hear the audio play when you drag the playhead in the Timing
pane or the mini-Timeline. This is called audio scrubbing.
Working in the Audio Timeline
You can perform basic audio tasks in the Audio Timeline, including scrubbing, modifying
the in or out point of a track, and so on. And you can display keyframes in the Audio
Timeline.
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To scrub an audio track
Hold the Option key down while dragging the playhead right or left in the Audio Timeline
(or other area of the Timing pane).
Keeping the pointer still while pressing the mouse button down continuously loops the
five frames adjacent to the current frame.
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To change the audio track’s start time
Do one of the following:
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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:
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Drag the audio track to the right to advance the audio, or drag to the left to rewind.
Drag either end of the audio track.
Set an Out 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 Out Point.
To turn on or off the display of keyframes in the Audio Timeline
Click the Show/Hide Keyframes button in the upper-left corner of the track area.
Keyframing Audio
Audio level and pan parameters can be animated. When an audio track is selected, its
keyframes can be modified in the Keyframe Editor. Keyframes appear as diamonds, and
curves appear as solid lines. Areas before the first keyframe and after the last keyframe
are represented with dotted lines.
You can manipulate keyframes by dragging them in the graph. Moving a keyframe left
or right changes its position in time, while dragging it up or down changes its value.
Because audio keyframes work the same as keyframes for other parameters, see Keyframe
Editor for more information on the Keyframe Editor interface.
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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. For more information on using
the Keyframe Editor, see Keyframes and Curves.
To display the Keyframe Editor
Do one of the following:
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Choose Window > Keyframe Editor (or press Command-8).
Click the Show/Hide Keyframe Editor button in the lower-right corner of the workspace.
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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. The image fades in from 0% to 100% over the 120 frames.
The smooth, fade-in transition between the adjacent keyframed values is called
interpolation.
Keyframes for a specific parameter (such as Opacity or Rotation) are positioned on a
line over time. Values for the keyframes change the shape of that line and create an
animation curve. The type of curve from keyframe to keyframe (interpolation) can be
changed to create animation effects. For example, keyframes set to Bezier create smooth
transitions in values. Keyframes set to Linear create straight lines between the keyframes,
for sharper changes in value. You can modify keyframes and animation curves in the
Keyframe Editor, located in the Timing pane. For more information, see Keyframes and
Curves.
There are two keyframing methods available to suit your preferred workflow:
• Record Button: After the Record button is turned on, any adjustment to any parameter
in the Canvas, Inspector, or HUD adds a keyframe.
• Initial Keyframe: After a keyframe has been added to a parameter, any adjustment to
that parameter in the Canvas, Inspector, or HUD adds a keyframe, independent of the
state of the Record button.
For more information, see Keyframing Methods.
To create keyframes by moving an object across the screen using the Record button
1 Click the Record button under the Canvas (or press A) to turn on keyframe recording.
2 Place the playhead at the starting frame, then place the object in a starting position in
the Canvas.
3 Move the playhead forward, then drag the object to the ending position you want.
An editable animation path appears in the Canvas and keyframes appear in the Keyframe
Editor for the selected object.
4 Click the Record button (or press A) to turn off keyframe recording.
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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.
Note: The Animation menu (the downward arrow) and the Add/Delete keyframe buttons
appear when you place the pointer over the end of the parameter row in the Inspector.
You can also Control-click a parameter’s name to reveal a shortcut menu.
• In the Properties Inspector, click the Position parameter’s Add/Delete Keyframe button.
A keyframe is added at the current playhead position, and the parameter appears red in
the Inspector.
3 Move the playhead to a new time position.
4 Move the object to a new position in the Canvas.
A keyframe is added at the current playhead position. When you play back the project,
the object moves over the interval you set.
Keyframe Editor Controls
The left side of the Keyframe Editor contains a list of parameters. You can choose which
parameters to display by using the Show Curve Set pop-up menu at the top of the list.
This menu has an option for creating custom curve sets so you can focus on specific
parameters in the Keyframe Editor. For more information on creating and viewing
parameter sets, see Custom Parameter Sets.
There are a number of controls above the parameter list:
Show Curve Set pop-up menu: Sets what is displayed in the Keyframe Editor. The pop-up
menu items include:
• All: Displays all parameters for the selected object, whether or not the parameters are
animated.
• Animated: Displays only animated parameters and curves for the selected object. This
includes animation curves created by keyframing as well as behaviors. This is the default
setting. With the Keyframe Editor active, you can also press the U key to choose
Animated from the Show Curve Set pop-up menu.
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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. When this option is selected, nothing
appears in the Keyframe Editor unless you are modifying an object (in the Canvas,
Inspector, or HUD). For example, when Active is selected and you are moving an object
around in the Canvas, the X and Y Position parameters and curves are displayed.
• Position: Displays only the Position parameters for the selected object.
• Rotation: Displays only the Rotation parameters for the selected object.
• Scale: Displays only the Scale parameters for the selected object.
• Shear: Displays only the Shear parameters for the selected object.
• Anchor Point: Displays only the Anchor Point parameters for the selected object.
• Opacity: Displays only the Opacity parameters for the selected object.
• New Curve Set: Lets you create a custom curve set.
• Manage Curve Sets: Lets you manage (delete, duplicate, and so on) custom curve sets.
Note: For more information on using curve sets, see Custom Parameter Sets.
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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.
• Transform Keyframes tool: Use to drag a selection box around keyframes and then
manipulate the selected keyframes.
Parameter list: The Keyframe Editor parameter list contains the following controls and
features:
• Activation checkbox: Turns the display of parameters on and off in the keyframe graph.
Activating the checkbox next to an object name turns all parameters for that object
on or off for display purposes—but the animation of the object is not affected.
• Name: Lists the name of the selected object and its parameters.
• Value: Displays the value for the playhead position for that parameter. You can drag
in the value field to set keyframe values, or double-click in the field and enter a new
value. For more information, see Modifying Keyframes.
• Add/Delete Keyframe button: Lets you add or delete keyframes, regardless of the status
of keyframe recording (the Record button). Click the button to add a keyframe. If a
keyframe exists for that parameter at the current playhead position, clicking the button
deletes the keyframe.
• Animation menu: Provides a pop-up menu to control animation and keyframing
attributes for that parameter. To open the menu, place the pointer over the column
(in the row of the parameter to modify). When the downward arrow appears, click it
to open the menu. The menu contains the following items:
• Enable/Disable Animation: Enables or disables keyframes for the parameter. This
menu item is unavailable until keyframes are applied to the parameter. When the
parameter is animated, the menu item is renamed to Disable Animation. Choosing
Disable Animation hides the keyframes you have set, restoring the parameter to its
default value. However, the keyframes are not discarded. Choosing Enable Animation
restores the parameter to its last keyframed state.
• Reset Parameter: Removes keyframes and settings for this parameter. The parameter
value is restored to its default value.
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• 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. You
can also Control-click a keyframe and choose Delete from the shortcut menu, or
select the keyframe and press Delete.
• Previous Keyframe: Moves the playhead to the previous keyframe for this parameter.
The Previous Keyframe command is only available if a keyframe exists earlier in the
project. You can also press Option-K to advance to the next keyframe.
• Next Keyframe: Moves the playhead to the next keyframe for this parameter. The
Next Keyframe command is only available if a keyframe exists later in the project.
You can also press Shift-K to advance to the next keyframe.
• Interpolation: Sets the type of curve for the parameter. See the table in Modifying
Curves for examples of interpolation methods.
• Before First Keyframe: Defines the animation before the first keyframe of a parameter.
This is called extrapolation. For examples of extrapolation methods, see Extrapolation.
• After Last Keyframe: Defines the animation after the last keyframe of a parameter.
This is called extrapolation. For examples of extrapolation methods, see Extrapolation.
• Lock/Unlock Parameter: Locks the parameter to prevent changes. When a parameter
is locked, neither keyframes nor curves are adjustable.
• Reduce Keyframes: Applies a thinning algorithm to the selected parameter to reduce
the number of keyframes while attempting to maintain a similar curve shape. For
more information on keyframe thinning, see Keyframe Thinning.
• Curve Snapshot: Reverts keyframe changes made in the selected curve to the most
recent snapshot. This menu item is available only when the Take/Show Curve
Snapshot button is enabled. For more information, see Keyframe Editor Control
Buttons and Curve Snapshots.
Keyframe Editor Control Buttons
The upper-right corner of the Keyframe Editor contains six buttons that provide additional
control over the Keyframe Editor window.
Clear Curve
List
Curve
Snapshot
Fit Curves
Vertically
Display
Waveform
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Fit Curves
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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.
Take/Show Curve Snapshot: Saves a “snapshot” of the current curve state for use as an
overlay to compare with subsequent curve modifications. When this setting is enabled,
as you move keyframes in the Keyframe Editor, the original curve—as it appeared when
you took the snapshot—remains in its original color. The modified curve appears white.
Snapping: Turns on magnetic snapping so keyframes easily line up with other keyframes,
markers, grid points, and other items.
Auto-Scale Vertically to Fit Curves: Turns on a view mode that stretches the graph
vertically to show all curves.
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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. Moving keyframes left
and right changes their position in time, while dragging them up and down changes
their values. You can also double-click a keyframe, enter a number into the pop-up value
field, and then press Return to change its value.
Control-click a keyframe to access shortcut menu options as well as an Interpolation
submenu, which allows you to change curve types. For more information on manipulating
keyframes and curves in the graph, see Modifying Keyframes and Modifying Curves.
Ruler
At the top of the keyframe graph is a ruler that provides a visual gauge for positions and
durations of keyframes and curves. The ruler is identical to the Timeline ruler. For more
information on working with the ruler, see Timeline Ruler.
Zooming in the Keyframe Editor
The Keyframe Editor uses the same zoom/scroll control as the Timeline. Below the
zoom/scroll control is the zoom slider, which zooms in and out of the graph area based
on the location of the playhead.
Scroller
Handle
Zoom slider
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To zoom the Keyframe Editor using the zoom/scroll control
Do one of the following:
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Drag the handle of the control away from the center to zoom out and toward the center
to zoom in.
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Drag the control left to zoom right or right to zoom left.
The Keyframe Editor updates as you drag.
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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.
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To zoom the Keyframe Editor using a Multi-Touch device
Pinch open to zoom in and pinch closed to zoom out.
After you zoom in, use two-finger swipes to scroll left or right.
HUD
The HUD (heads-up display) is a dynamically updating floating window that puts the
common controls for a selected object within easy reach. For example, an image HUD
contains opacity, blend mode, and drop shadow controls.
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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.
Note: It is easier to enter a specific value for a slider parameter in the Inspector’s value
sliders.
To display a HUD
Do one of the following:
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Select an object, then choose Window > Show HUD (or press F7).
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Press D. Press D again to cycle through all HUDs for the selected object.
Select an object, then click the Show/Hide HUD button in the toolbar (to the right of the
timing display).
To cycle the HUDs in reverse, press Shift-D.
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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.
When multiple objects of the same type are selected, a combined HUD appears, and
“Multiple Selection” appears in its title bar.
To switch between HUDs of a selected object
Do one of the following:
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Click the downward arrow in the HUD title bar, then choose the HUD to view from the
pop-up menu.
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Press D to cycle through all HUDs for the selected object. To cycle the HUDs in reverse,
press Shift-D.
The HUDs are cycled in the order in which the effects are applied.
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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.
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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.
These fields include Inspector value fields and name fields in the Layers, Timeline Layers,
Media, and Audio lists.
This shortcut menu includes the following options:
• Search (Spotlight or other search engine)
• Look Up in Dictionary
• Cut, Copy, and Paste
• Spelling and Grammar (Show, Check, and Correct options)
• Substitutions (such as Replace Quotes or Replace Dashes)
• Transformations (such as Make Upper Case or Capitalize)
• Speech (Start Speaking or Stop Speaking)
To use the text field shortcut menu
1 Double-click a text or value entry field to make the text editable.
2 Control-click the field, then select an item from the shortcut menu.
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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.
This chapter covers the following:
• Toolbar Controls (p. 123)
• Slider Controls (p. 124)
• Coordinate Controls (p. 125)
• Dial (p. 126)
• Value Field (p. 127)
• Activation Checkbox (p. 127)
• Menus (p. 127)
• Source Well (p. 129)
• Color Controls (p. 129)
• Gradient Controls (p. 132)
• Generic Inspector Controls (p. 141)
• Rasterization Indicator (p. 142)
Toolbar Controls
The Motion toolbar is located in the middle of the main window, underneath the Project
pane and Canvas.
The left side of the toolbar contains controls to create and edit elements such as text,
shapes, and masks. The center of the toolbar contains the timing display. The right side
of the toolbar includes buttons that:
• Show or hide the heads-up display (HUD)
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• 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.
µ
To access a toolbar control’s additional modes or options
Click any tool with a small downward arrow in the lower-right corner, and, holding down
the mouse button, choose a mode or option from the pop-up menu.
For a description and use of each tool, see Toolbar.
Slider Controls
Sliders are used for parameters that span a range of numeric values. Sliders are by far the
most common control type in Motion.
Basic Sliders
Sliders are used to set values in a fixed range. For example, opacity must fall between 0%
and 100%. Drag the slider to set a value anywhere within that range.
Although sliders are fixed-range controls, some parameters can be set to values outside
of that limited range. For those parameters, a second type of slider control is available: a
value slider, which is described in the next section. For example, the Amount slider in the
Gaussian Blur filter has a default range of 0 to 64, but can be set as high as 600 using the
accompanying value slider.
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To change the value of a basic slider
Drag the slider to the left to decrease values and to the right to increase values.
Option-click to the left or right of the slider to decrease or increase by a value of 1.
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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.
There are two ways to adjust a value slider: by dragging over the number, left or right,
to decrease or increase the parameter value; or by double-clicking the number, then
entering a new value.
Parameters with effectively infinite ranges, such as Scale, can be set to any positive or
negative value. The value slider can display up to 18 digits to accommodate large values.
To modify the value of a parameter using a value slider
Do one of the following:
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Drag right or left over the numbers to increase or decrease the value.
To change the value in larger increments, press Shift while dragging. To change the values
in smaller increments, press Option while dragging.
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Click or double-click the number, then enter a value in the field.
Coordinate Controls
Parameters that define a specific location in the Canvas are controlled using three value
sliders to set the X, Y, and Z coordinates. Parameters that define a specific location in a
two-dimensional object have two value sliders, for X and Y coordinates.
Note: In most cases, only the X and Y axis value sliders are visible, and clicking a disclosure
triangle displays both value sliders in a vertical stack. For 3D groups operating with three
dimensions, the additional Z axis value slider is revealed by clicking the disclosure triangle
next to the parameter name.
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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. For example, the Center parameter of the Radial Blur filter exposes
a coordinate onscreen control in the Canvas you can use to adjust the epicenter of this
effect visually rather than numerically.
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To modify a coordinate value in the inspector
Use the value sliders for the X, Y, and (when applicable) Z axes.
If a coordinate onscreen control is visible in the Canvas, drag it to another location.
For more information on using value sliders, see Value Sliders.
Dial
Parameters measured in degrees (such as Rotation or Hue) employ the dial control.
Some parameters are limited to a value between 0 and 360 degrees. If you rotate such a
dial more than one revolution, the numbers repeat. Other parameters can be set to
negative values or multiple rotations.
Dials have a value slider beside them to indicate the value set by the dial. Dial value sliders
can be manipulated directly as well.
To adjust a parameter using a dial
Do one of the following:
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Drag the dial in a clockwise or counterclockwise direction to increase or decrease the
value.
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Adjust the value slider to the right of the dial.
For more information on working with value sliders, see Value Sliders.
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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.
Note: Filters and Behaviors in the Inspector have special checkboxes that turn an effect
on and off. These checkboxes are blue when the effect is turned on, and gray when the
effect is turned off.
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To activate or deactivate a parameter controlled by a checkbox
Click the checkbox.
Menus
Motion uses a variety of menus and menu-like controls. These include pop-up menus,
value lists, parameter selection menus, and tracking selection menus.
Menus cannot be keyframed.
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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.
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To change the value of a pop-up menu
Click the menu and choose an item from the list.
Parameter Selection Menu
The parameter selection menu is a special type of pop-up menu, specifically for Parameter
behaviors. Usually labeled “Apply To,” the parameter selection menu appears in the
Behaviors Inspector after you apply a Parameter behavior. The menu consists of a display
field listing the parameter that the behavior is modifying and a To pop-up menu from
which you can choose a different target parameter.
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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.
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To use a source well
Drag an object from the File Browser, Library, Layers list, or Media list into the empty box.
The name and a thumbnail of the source object appears in the well and is used as a source
for the effect.
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To replace the contents of a source well
Drag an object onto the well.
The old source is replaced with the new one.
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To clear a source well
Drag the icon in the well out.
The well is emptied.
Color Controls
Many objects and effects in Motion have adjustable color attributes. You can modify color
parameters using a few standard controls, including the color well, pop-up color palette,
Mac OS X Colors window, eyedropper, and color channel sliders.
Color Well
A color well is the small color box you click to open the Mac OS X Colors window to choose
a new color for the selected object. The color well has two parts: a color swatch that
displays the currently applied color and a downward arrow.
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To change the color of an object using a color well
Click the swatch, then pick a color from the Mac OS X Colors window. For more information,
see The Colors Window.
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Click the color well’s downward arrow or control-click the color well, then pick a color
from the Motion pop-up color palette.
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Click the eyedropper, then click an object of the desired color in the Canvas.
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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.
As you drag in either area, the pointer becomes an eyedropper, the column on the right
displays the RGB and HLS values for the sampled colors, and two swatches above the
RGB information display the current and sampled colors. As you sample in the spectrum,
the selected object in the Canvas updates dynamically.
The Colors Window
You can also use the Mac OS X Colors window in Motion, giving you access to the familiar
color pickers such as the Web Safe Colors palette or the Crayons palette.
Picker interfaces
Current color
Current color picker
Saved color swatches
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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:
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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:
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Click a color in the color picker area.
Click the magnifying glass, then click anywhere on the computer screen to choose a color.
Note: When you open the Colors window by clicking a Motion color well, the color you
click in the Colors window loads into the well, and the selected object in the Canvas
changes color. However, when you open the Colors window from the View menu (or by
pressing Command-Shift-C), clicking a color in the Colors window does not load the color
into the well or change the selected object. In this case, drag a color swatch from the
Colors window to the color well. Similarly, if you leave the Colors window open and select
a another object in the Canvas, clicking in the Colors window does not change the newly
selected object.
To save a color to the Colors window saved swatch area
1 Select a color in the picker or by using the magnifying glass.
2 Drag the color from the large swatch to a white square at the bottom of the Colors
window.
Colors saved in this area remain accessible across applications and restarts.
Tip: To add white squares, drag the bottom of the Colors window down.
Eyedropper
An eyedropper control beside the color well lets you pick a color in use in the Motion
Canvas. By choosing from colors in your scene you ensure that elements remain in the
same palette, creating a more cohesive and integrated design.
To pick a color using the eyedropper
1 In the Inspector, click the eyedropper for the color parameter you want to set.
The pointer turns into an eyedropper.
2 Click a color in the Canvas.
That color is assigned to the color well.
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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. For more information on using sliders, see Slider
Controls.
Gradient Controls
Most attributes that can be filled with a color can also be filled with a gradient. Like color
controls, gradient controls are a group of compound settings with additional options
revealed when you click the disclosure triangle.
Gradient preset pop-up menu
Gradient Preset Pop-up Menu
When the gradient controls are collapsed, you can select a preset gradient from the
Gradient preset pop-up menu, located to the right of the gradient bar.
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To change the current gradient to a saved preset
Click the Gradient preset pop-up menu and choose a gradient preset from the list.
The new gradient is shown in the gradient bar and applied to the selected object in the
Canvas.
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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 color and opacity of a gradient can be animated.
Important: This section covers common gradient editor controls. However, the gradient
editor in the Style pane of the Text Inspector has an additional Angle parameter.
Graphical controls: Three horizontal bars that let you set and preview the opacity, color,
and spread of a gradient.
The narrow, white top bar (the opacity bar) controls opacity and transparency in the
gradient. Adjust the spread of opacity across the gradient by dragging one of the small
box-shaped opacity tags horizontally along the bar. Click in the opacity bar to add opacity
tags, creating a gradient with varying levels of transparency. Delete an opacity tag by
dragging it away from the color bar. Change the value of an opacity tag by selecting it
and dragging the Opacity slider (described below).
Opacity tags have a value range of 0% (completely transparent) to 100% (completely
opaque). Adjust the transition between two opacity tags by dragging the middle control—a
small triangle between adjacent tags, available when Interpolation is set to Continuous
(described below). By default, the opacity of a gradient applied to text is 100%.
The wide middle bar shows a preview of the current gradient.
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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. Adjust the transition between color tags by dragging
the middle control—a small triangle between adjacent tags, available when Interpolation
is set to Continuous (described below).
Selecting a color tag activates the Color and Location controls (described below). Selecting
an opacity tag activates the Opacity slider (described below). Selecting a middle control
activates the Middle slider (described below).
Color: A color well and eyedropper that sets the hue of a selected color tag in the gradient
bar. For more information about color wells, see Color Well.
Opacity: A slider that sets the transparency of a selected opacity tag in the opacity bar.
Values range from 0% (completely transparent) to 100% (completely opaque).
Interpolation: A pop-up menu that sets the interpolation of a selected color tag or opacity
tag. There are three options:
• Constant: Creates a constant color distribution from the color or opacity tag, moving
from left to right in the gradient. For example, if the left color tag is set to Constant,
the area of the gradient between that tag and the next one to the right is a single, solid
color.
Tag set to Continuous
Tag set to Constant
Tag set to Linear
• Linear: Creates a uniform distribution of opacity or color between the tags.
• Continuous: Sets an adjustable rate of change between adjacent opacity or color tags.
Adjust the rate of change by dragging a middle control in the opacity bar or gradient
bar, or by dragging the Middle slider (described below).
Middle: A slider that duplicates the function of the middle controls in the opacity bar
and gradient bar, adjusting the transition point between opacity tags or color tags. When
you select a middle control, the Middle slider becomes available.
Location: A slider that adjusts the location of a selected opacity tag or color tag.
Type: A pop-up menu that lets you choose a linear or radial gradient.
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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. 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 end position of the gradient.
• Y: Controls the Y end position of the gradient.
Using the Gradient Editor
The gradient editor is a flexible and powerful tool, allowing you to create custom styles.
To change the colors in a gradient
1 Click the Gradient disclosure triangle to show the gradient editor.
2 To change the color of a color tag in the gradient editor, do one of the following:
• Double-click a color tag.
Double-click a color tag to
open the Colors window
The Colors window appears. Use the Colors window to set a color for the tag.
• Click a color tag, click the disclosure triangle to the left of Color parameter name, then
adjust the Red, Green, and Blue color channel sliders.
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• 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.
2 Do one of the following:
• Drag the color tag left or right.
• Use the Location slider (or adjacent value slider) to modify the position of the selected
tag. A value of 100% is the rightmost position of the gradient, and a value of 0% is the
leftmost position of the gradient.
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To change the transition midpoint between adjacent color or opacity tags
Drag the small triangle between adjacent color tags or opacity tags to change the point
where one tag’s effect ends and the next tag’s effect begins. The closer the middle control
is to a tag, the sharper the color or opacity transition.
Middle control
Note: The middle control does not appear for color or opacity tags set to Linear or
Constant.
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To change the color or opacity tag interpolation
Click a tag, then choose Constant, Linear, or Continuous from the Interpolation pop-up
menu.
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To add a color tag to a gradient
Position the pointer in the lower gradient bar where you want to add the new color, then
click.
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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.
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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%.
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To duplicate a color or opacity tag
Option-drag the tag to a position.
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To remove a color or gradient tag from the gradient
Drag the tag away from the gradient bar.
The tag is removed.
To change the opacity in a gradient
1 Click an opacity tag.
The Opacity slider is enabled.
Opacity tag
Opacity slider
2 Use the Opacity slider or adjacent value slider to change the level of transparency.
The gradient transparency reflects the new opacity values.
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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.
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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.
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To evenly distribute the gradient color or opacity tags
Click the Distribute Tags icon next to the opacity or color bar.
Distribute tags (opacity)
Distribute tags (color)
To change the direction of a shape’s gradient
1 With the shape selected and the Inspector open, click the Gradient disclosure triangle to
show the gradient editor.
2 Use the Start and End value sliders to change the direction of the gradient.
Saving Gradient Presets
As with shape styles, after you create a gradient, you can save it in the Library.
To save a gradient in the Library
1 Select the object with the gradient to save.
2 From the Gradient preset pop-up menu, choose Save Gradient.
3 In the Save Preset To Library dialog, enter the name of the gradient.
4 Click Save.
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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. You can also use onscreen
controls to add color tags and opacity tags, as well as change their interpolation.
Start triangle
Opacity tag
End triangle
Color tags
To display the onscreen gradient controls
Do one of the following:
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In the Canvas, Control-click the object with the applied gradient, then choose Edit Gradient
from the shortcut menu.
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Choose the Adjust Item tool from the 2D transform tools pop-up menu.
The onscreen controls appear.
µ
µ
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To adjust the start and end gradient positions
To adjust the Start X and Y position of the gradient, drag the top triangle (at the end of
the gradient line).
To adjust the End X and Y position of the gradient, drag the bottom triangle (at the end
of the gradient line).
To change the location of gradient tags
To change the location of gradient colors, drag the color tags along the gradient line.
To change the location of the gradient opacity, drag the opacity tags along the gradient
line.
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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:
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Double-click the gradient control line.
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Option-click the gradient control line where you want the tag.
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To duplicate a color or opacity tag
Option-drag the tag to a position.
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Control-click the gradient control line where you want the tag, then choose Add Color
Tag from the shortcut menu.
To change the color of a gradient tag
Control-click the tag, then drag the eyedropper in the pop-up color palette to select a
color. As you drag over the color spectrum, the gradient color is actively updated.
To add an opacity tag
Do one of the following:
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Control-click the gradient control line where you want the tag, then choose Add Opacity
Tag from the shortcut menu. By default the tag is set to 100% opacity.
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Option-Shift-click the gradient control line at the location where you want the tag.
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To change a color tag’s interpolation
Control-click the gradient control line next to the tag, then choose Constant, Linear, or
Continuous from the Color Interpolation submenu.
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To change an opacity tag’s interpolation
Control-click the line next to the tag, then choose Constant, Linear, or Continuous from
the Opacity Interpolation submenu.
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To change an opacity tag’s transparency
Control-click the tag, then drag the eyedropper in the pop-up palette to set an opacity
value for the tag. White represents more opaque values; progressively darker levels of
gray represent decreasing opacity; and black represents complete transparency. As you
drag over the spectrum, the gradient is actively updated.
To reverse the direction of the color gradient
Control-click the gradient control line, then choose Reverse Color from the shortcut menu.
To reverse the direction of the opacity gradient
Control-click the gradient control line, then choose Reverse Opacity from the shortcut
menu.
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To evenly distribute the gradient color tags
Control-click the gradient control line, then choose Distribute Color from the shortcut
menu.
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To evenly distribute the gradient opacity tags
Control-click the gradient control line, then choose Distribute Opacity from the shortcut
menu.
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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.
Generic Inspector Controls
In addition to the parameter control types listed above, several other controls are widely
used in the Inspector.
Show/Hide button: A hidden button that exposes or conceals a group of parameters in
the Inspector. When you hold the cursor over the right side of a group header (to the left
of the Reset button), the Show/Hide button appears. Click Show to display the parameters.
Click Hide to conceal the parameters.
Click to show or hide
a group of controls.
Reset button: A curved arrow button on the ride side of a parameter row. Click the Reset
button to restore a parameter (or in some cases, a set of parameters) to the default value.
Reset
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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. The Animation menu lets you perform animation- and parameter-related
tasks: adding keyframes, assigning Parameter behaviors, managing rigs, and so on. To
open an Animation menu in the Inspector, move the pointer to the right side of the
parameter you want to animate and, when the downward arrow appears, click it.
For more information on animating parameters using options in the Animation menu,
see Animation Menu.
Rasterization Indicator
In the Properties Inspector, a small red “R” indicator appears when a group becomes
rasterized. This icon is called a rasterization indicator. The rasterization indicator is not a
control; it is an alert telling you that a group is rasterized.
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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.
The rasterized 3D group is treated as a single object and uses layer order, rather than
depth order when being composited in the project.
When the adjustment of a parameter triggers rasterization of a group, a rasterization
indicator appears to the left of that parameter’s name in the Properties Inspector.
Additionally, a frame appears around the 2D or 3D group icon (the stack icon to the left
of the group name) in the Layers list and Timeline.
For more information on rasterization, see About Rasterization.
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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.
This chapter covers the following:
• Application Menu (p. 145)
• File Menu (p. 146)
• Edit Menu (p. 148)
• Mark Menu (p. 150)
• Object Menu (p. 152)
• Favorites Menu (p. 155)
• View Menu (p. 155)
• Share (p. 162)
• Window Menu (p. 163)
• Help Menu (p. 164)
Application Menu
The first Motion menu contains general functions to control the application, modify the
preferences, and access the Apple website. It also provides access to system-level services.
• About Motion: Opens the About Motion window, which contains version, registration,
and trademark information.
• Preferences: Opens Motion Preferences. See Preferences for a detailed description of
the settings in that window.
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• 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.
• Final Cut Pro Set: Sets the active keyboard to match the default key command layout
in Final Cut Pro X wherever possible. Select from English, Japanese, French, or German.
• Standard Set: Sets the active keyboard to the default key command layout. Select
from English, Japanese, French, or German.
Note: For information on customizing your shortcut keys, see Customizing
Keyboard Shortcuts.
• Provide Motion Feedback: Opens a web page where you can send comments to Apple
about Motion.
• Download Additional Content: Downloads additional Motion Library content such as
templates, particle emitters, and replicators when your computer is connected to the
Internet.
• Services: A system menu item that provides access to commands that work across
different applications. See Mac OS X Help for more information about this submenu.
• Hide Motion: Hides all Motion windows. (Command-H) The application is still running
in the background. You can bring it back to the front by clicking the Motion icon in
the Dock.
• Hide Others: Hides windows from all applications other than Motion.
(Command-Option-H)
• Show All: Shows all windows from all applications currently running.
• Quit Motion: Stops the application from running. You are prompted to save your open
document. (Command-Q)
File Menu
This menu contains functions and commands that deal with files on your disk associated
with Motion.
• New: Opens the Project Browser dialog, where you can choose a project type or template
to create a document. If a default project is set in the Project pane of Motion Preferences,
a new document is created with that setting. (Command-N)
• New From Project Browser: Use this option to create a project from the Project Browser
dialog. (Command-Option-N)
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• 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. (Command-W)
• Save: Stores the current state of the project to disk. If the current project is a Final Cut
Title, Final Cut Generator, Final Cut Transition, or Final Cut Effect, the Publish window
is appears. (Command-S)
• Save As: Saves the current state of the project with a new name. If the current project
is a Final Cut Title, Final Cut Generator, Final Cut Transition, or Final Cut Effect, the
Publish window appears. (Command-Shift-S)
• Publish Template: Available when the current project is a standard Motion project, saves
the current project as a Motion template or a Final Cut Generator template (for use in
Final Cut Pro X). When saved, Motion templates appear in the Compositions category
in the Motion Project Browser; Final Cut Generators appear in the Final Cut Pro
Generators category in the Motion Project Browser; and so on. For more information
on working with templates, see Creating Templates for Final Cut Pro X.
• Revert to Saved: Restores the selected project to the last saved state. All of the work
done after the last save is lost. Use caution; you cannot undo this operation.
• Restore from Autosave: Displays a dialog where you can choose a project previously
saved to the Autosave Vault. For more information on the Autosave Vault, see Autosave.
• Import: Opens the Import Files dialog and lets you choose a file from disk to import
into your project. (Command-I)
• Import as Project: Displays the “Import File as Project” dialog. A new project is created
from the chosen file, using the file’s dimensions and duration. If multiple items are
selected, they are all placed in the same project. Additional options are available if an
image sequence is selected. (Command-Shift-I)
For more information, see Opening and Closing Projects.
• Reconnect Media: When a layer in your project refers to a file on disk that has been
moved or modified, this command allows you to reestablish that link.
• Remove Unused Media: When a media item is imported into the Media list (and not
into the project), this command allows you to remove the item from your project.
• Remove Optical Flow Retiming: When a media item has been processed for retiming,
choosing this menu flushes the retiming information file.
For more information on optical flow retiming, see Retiming.
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• 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.
• Undo: This command is usually followed by the name of the last command
performed—for example, Undo Move, or Undo Rotation Change. Choosing this menu
item restores the project to the state before that action was taken. If the menu item is
dimmed, you cannot undo. (Command-Z)
• Redo: This command is usually followed by the name of the last command performed
such as Redo Move or Redo Rotation Change. It is only active if one or more actions
have been undone. Choosing this menu item performs the exact action that was just
undone. (Command-Shift-Z)
• Cut: Removes the selection and stores it on the Clipboard so it can be pasted later.
(Command-X)
• Copy: Copies the selection and stores it on the Clipboard so it can be pasted later.
(Command-C)
• Paste: Adds the current Clipboard selection to the project based on the current selection.
This command is not available if nothing is on the Clipboard or if the contents of the
Clipboard cannot be pasted to the current selection—for example, text cannot be
pasted onto a keyframe. (Command-V)
• Paste Special: Gives you the choice to paste the contents of the Clipboard into the
active Timeline by inserting (pushing existing objects out of the way) or exchanging
or overwriting (replacing existing objects with the selected object). Additional options
are available. (Command-Option-V)
For more information, see Paste Special.
• Duplicate: Makes a copy of the current selection and immediately adds it to the project.
(Command-D)
• Delete: Removes the current selected object, leaving a gap in the Timeline. (Delete)
• Ripple Delete: Removes the selected object and closes the gap in the Timeline.
(Shift-Delete)
• Insert Time: Adds blank space into the Timeline. You can only use Insert Time after
selecting a time region in the Timeline ruler. For more information on regions, see
Working with Regions.
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• 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.
• Select All: Selects all objects in the project. (Command-A)
• Deselect All: Releases any objects selected in the project. (Command-Shift-A)
• Project Properties: Selects the Project object in the Layers list and opens the Properties
Inspector. Use this pane to change the settings for the project. (Command-J)
For details about the Properties Inspector, see Project Properties.
• Spelling and Grammar: This submenu contains spell-checking controls that allow you
to search through the selected text for spelling and grammatical errors.
For more information on using the spelling checker, see Adding Text with the Text
Editor.
• Show/Hide Spelling and Grammar: Opens the system Spelling and Grammar dialog.
This command is active only when a body of text is selected (in the Layers list, Canvas,
or Text editor). For more information, see Mac OS X Help. (Command-Colon)
• Check Document Now: When text is selected in the Text editor (the text-entry area
in the Format pane) in the Text Inspector, this command turns on the spelling checker
for the selected text. Mistyped or misspelled text is underlined in red. This command
functions on text in the Text editor, but not in the Canvas. (Command-Semicolon)
• Check Spelling While Typing: Available when text is selected in the Text editor in the
Format pane of the Text Inspector, turns automatic spell checking on and off. When
active, a checkmark appears next to the menu item. This command functions on text
in the Text editor, but not in the Canvas.
• Check Grammar With Spelling: Available when text is selected in the Text editor in
the Format pane of the Text Inspector, turns automatic grammar checking on and
off. When active, a checkmark appears next to the menu item. Text with potential
grammatical errors is underlined in red. This command functions on text in the Text
editor, but not in the Canvas.
• Correct Spelling Automatically: Available when text is selected in the Text editor in
the Format pane of the Text Inspector, corrects misspelled words that do not begin
with a capital letter or that appear on a line of their own. This command functions
only on text in the Text editor, not in the Canvas.
• Find and Replace: Opens the Find and Replace dialog, which allows you to locate and
change a word (or any set of characters) that you’ve used in a Motion project. For more
information, see Finding and Replacing Text.
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• 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.
• Mark In: This command does two things. If no object is selected, it sets the beginning
frame of the play range to the current playhead position. If an object is selected, it trims
the In point for that object to the current playhead frame. (I)
• Mark Out: This command does two things. If no object is selected, it sets the ending
frame of the play range to the current playhead position. If an object is selected, it trims
the Out point for that object to the current playhead position. (O)
• Move Selected In Point: This command moves the selected object or objects so the In
point aligns with the current playhead position. (Shift-Left Bracket)
• Move Selected Out Point: This command moves the selected object or objects so the
Out point aligns with the current playhead position. (Shift-Right Bracket)
• Markers: This submenu contains all of the controls for creating, modifying, and deleting
markers. For more information on using markers, see Adding Markers.
• Add Marker: Adds a marker at the current playhead frame. If an object is selected, an
object marker is added. If no object is selected, a project marker is added. (M or the
Tilde key to add an object marker; Shift-M to add a project marker)
• Edit Marker: Opens the Edit Marker dialog, where you can set a marker’s name, type
(for project markers), color, duration, and comment. A marker must be selected for
this menu item to be active. (Command-Option-M)
• Delete Marker: Removes the selected marker from the project.
• Delete All Markers: Removes all markers from the selected object. If no object is
selected, it deletes all project markers.
• Mark Play Range In: Sets the play range In point to the location of the playhead.
(Command-Option-I)
• Mark Play Range Out: Sets the play range Out point to the location of the playhead.
(Command-Option-O)
• Reset Play Range: Moves the play range In and Out points to the first and last frame of
the project. (Option-X)
• Play: Starts playback of the project. (Space bar)
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• 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.
• Go to: This submenu contains commands to navigate to a specific frame in a project.
These commands move your playhead to a new location:
• Project Start: Moves the playhead to the first frame of the project. (Home)
• Project End: Moves the playhead to the last frame of the project. (End)
• Play Range Start: Moves the playhead to the project In point. (Shift-Home)
• Play Range End: Moves the playhead to the project Out point. (Shift-End)
• Previous Frame: Moves the playhead backward by one frame. (Left Arrow)
• Next Frame: Moves the playhead forward by one frame. (Right Arrow)
• 10 Frames Back: Moves the playhead backward ten frames. (Shift-Left Arrow)
• 10 Frames Forward: Moves the playhead forward ten frames. (Shift-Right Arrow)
• Previous Keyframe: Moves the playhead to the previous keyframe in the project.
(Option-K)
• Next Keyframe: Moves the playhead to the next keyframe in the project. (Shift-K)
• Previous Marker: Moves the playhead to the closest marker earlier in time.
(Command-Option-Left Arrow)
• Next Marker: Moves the playhead to the closest marker later in time.
(Command-Option-Right Arrow)
• Selection In Point: Moves the playhead to the first frame of the selected object. (Shift-I)
• Selection Out Point: Moves the playhead to the last frame of the selected object.
(Shift-O)
• RAM Preview: This submenu contains commands to play back your project in real time,
by temporarily storing the frames in a RAM buffer. For more information on how and
when to use the RAM Preview functions, see RAM Preview.
• Play Range: Renders the area between the project In and Out points and stores the
frames in RAM. After the frames are stored, the region plays back at full speed.
(Command-R)
• Selection: Renders the range of time occupied by the selected objects and stores the
frames in RAM. After the frames are stored, the region plays back at full speed.
(Command-Option-R)
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• 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. (Command-Shift-N)
• New Camera: Adds a new camera to the project, and lets you specify whether to use
2D or 3D mode. (Command-Option-C)
• New Light: Adds a new light to the project, and lets you specify whether to use 2D or
3D mode. (Command-Shift-L)
• New Drop Zone: Adds a new drop zone to your project. Drop zones allow you to replace
footage in a project by dropping clips onto the Canvas. A drop zone appears as a large
arrow placeholder graphic. The drop zone’s layer name appears in the center of the
drop zone. Any media item dragged and dropped into the region defined by the drop
zone object replaces the placeholder graphic. When media is dragged over the drop
zone, a highlight appears around the drop zone area. (Command-Shift-D)
• New Rig: Adds a new rig to the project. Rigging allows you to create complex animations
that are easy to modify. This is done by aggregating many separate parameters into a
single control, such as a slider or pop-up menu. For more information, see Using Rigs.
• Bring to Front: Moves the selected object to the top of the layers in a group.
(Command-Right Brace)
• Send to Back: Moves the selected object to the bottom of the layers in a group.
(Command-Left Brace)
• Bring Forward: Moves the selected object upward in the Layers list by one object.
(Command-Right Bracket)
• Send Backward: Moves the selected object downward in the Layers list by one object.
(Command-Left Bracket)
• Alignment: This submenu contains all commands for aligning and distributing multiple
objects in the Canvas. For more information on arranging objects in the Canvas, see
Using Object Alignment Commands.
• Align Left Edges: Moves the selected objects so their left edges line up with the
leftmost edge in the selection.
• Align Right Edges: Moves the selected objects so their right edges line up with the
rightmost edge in the selection.
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• 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.
• Align Horizontal Centers: Lines up the selected objects on their horizontal center
points.
• Align Vertical Centers: Lines up the selected objects on their vertical center points.
• Align Depth Centers: Lines up the selected objects on their Z (depth) center points.
• Distribute Lefts: Spreads the selected objects evenly between the leftmost and
rightmost objects based on their left edges.
• Distribute Rights: Spreads the selected objects evenly between the leftmost and
rightmost objects based on their right edges.
• Distribute Tops: Spreads the selected objects evenly between the topmost and
bottommost objects based on their top edges.
• Distribute Bottoms: Spreads the selected objects evenly between the topmost and
bottommost objects based on their bottom edges.
• Distribute Far: Spreads the selected objects evenly between each object’s farthest
point.
• Distribute Near: Spreads the selected layers evenly between each object’s nearest
point.
• Distribute Horizontal Centers: Spreads the selected objects evenly between the leftmost
and rightmost objects based on their horizontal center points.
• Distribute Vertical Centers: Spreads the selected objects evenly between the topmost
and bottommost objects based on their vertical center points.
• Distribute Depth Centers: Spreads the selected objects evenly between the nearest
and farthest objects, based on their Z (depth) center points.
• Group: Combines the selected objects into a group. (Command-Shift-G)
• Ungroup: Removes the grouping so you can manipulate the objects individually.
(Command-Option-G)
• Active: Sets whether an object is active. When an object is not active, it doesn’t appear
in the Canvas and doesn’t appear in the final output. When the selected item is active,
the menu item has a checkmark beside it. (Control-T)
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• 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. For example,
if you want to apply a mask to or rotoscope a layer that has been transformed in 3D
space, you can isolate the layer so it appears in its original orientation (2D, facing the
front of the project). Isolating an object does not alter its actual position in the project,
but temporarily changes the display so you can see it in the original orientation.
(Control-I)
Isolate is only available in projects that contain a camera. When an object can be
isolated, a small Isolate button appears to the right of the object’s name in the Layers
list. Click the button to isolate the object. When you isolate an object, the object name
appears in the Camera menu in the Canvas as the name of your current view. Isolating
a camera activates that camera’s view. You cannot isolate a light or rig.
• Lock: Locking an object prevents any changes from affecting that object. When the
selected item is locked, the menu item has a checkmark beside it. (Control-L)
• Unsolo: This submenu lets you turn a soloed object back to its normal state. There are
three choices: Video Only (Shift-Control-S), Audio Only, or Video and Audio. This menu
item is only available when a soloed object is selected.
• 3D Group: Changes the selected group to a 3D group. Deselecting the menu option
changes the group back to a 2D group (Control-D).
• Blend Mode: This submenu sets the blend mode for the selected layer. An object must
be selected to see the blend mode options. A layer can only have one blend mode set
at a time. The current setting is indicated with a checkmark beside the menu item. For
descriptions and examples of the various blend modes, see Using Blend Modes.
• Add Image Mask: Adds a mask to the selected layer. (Command-Shift-M)
• Add Keyframe: Adds a keyframe to the selected object, based on the last parameter
adjusted. The name change is based on your last action (positioning an object, adjusting
the scale handles, and so on). (Control-K)
• Convert to Keyframes: This command can only be chosen when the selected object or
objects have behaviors applied. All behaviors are reproduced as keyframes on the
parameters that they affect. (Command-K)
• Convert to Mask: This command can only be chosen when the selected object is a shape
in a 2D group or a flattened 3D group. The shape is converted to a mask and applied
to the enclosing group.
For more information on converting shapes to masks, see Converting Between Shapes
and Masks.
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• 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. Making clone layers instead
of duplicates lets you control all copies by modifying the original and also improves
project playback and rendering performance.
Each cloned item is copied and named “Clone Layer,” “Clone Layer 1,” and so on. When
you clone a layer, the cloned layer is placed in its original group. When you clone a
group, a new group is created that contains the clone. Cloned items are identified in
the Layers list with an icon for a cloned layer and an icon for a cloned group.
For more information, see Making Clone Layers.
• Reveal Source Media: Opens the Media list and highlights the item that corresponds
with the selected object. The Inspector is also updated to reveal the properties of the
source media. (Shift-F)
Favorites Menu
The Favorites menu remains empty until you create your own favorite effects. After you
have created favorites and stored them in the Favorites Menu folder in the Library, they
appear in the Favorites menu, grouped by type.
• Show Favorites Menu Items: Opens the Library and displays the Favorites Menu folder.
View Menu
The View menu contains commands for controlling the Motion interface. Most of these
items affect the Canvas, but some also apply to the Timeline and other panes.
• Zoom In: Zooms into the Canvas. (Command-Equal Sign)
• Zoom Out: Zooms out of the Canvas. (Command-Hyphen)
• Zoom Level: This submenu lets you set a specific zoom level, including a Fit in Window
option. (Shift-Z)
• Zoom Time View: This submenu allows you to zoom the contents of the Timeline.
• To Project: Zooms your Timeline so the entire duration of the project fills the window.
• To Play Range: Zooms your Timeline so the area between the project In and Out
points fills the window.
• Correct for Aspect Ratio: Adjusts the display of the Canvas to simulate the nonsquare
pixels that appear on a TV monitor.
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• 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.
• 3D View: This submenu sets the view to a scene camera or default camera view in a
3D project. A scene camera is a camera that you add to a project. A default camera
view is a built-in camera view, such as Perspective, Right, or Top. This menu is identical
to using the Camera menu in the upper-left corner of the Canvas.
For more information on cameras and views, see 3D Compositing.
Note: Because project objects are 2D (flat), they are not visible when you use the
orthogonal camera views (Front, Back, Left, Right, Top, and Bottom) unless the objects
are rotated in 3D space. This is because orthogonal views are at right angles
(perpendicular) to the elements. When an object is selected, a thin white line represents
the object in the Canvas.
• Active Camera: Shows the view from the active camera. (Control-A) Cameras added
to your project appear in this list as Camera, Camera 1, Camera 2, and so on.
• Perspective: Shows the perspective camera view. The perspective view defaults to a
view from the front center. Use the 3D View tools to pan, orbit, or dolly the camera.
• Front: Shows the front camera view. Use the 3D View tools to pan, orbit, or dolly the
camera.
• Back: Shows the back camera view (the view from the back of the scene). Use the
3D View tools to pan, orbit, or dolly the camera.
• Left: Shows the left camera view (the view from the left of the scene). Use the 3D
View tools to pan, orbit, or dolly the camera.
• Right: Shows the right camera view (the view from the right of the scene). Use the
3D View tools to pan, orbit, or dolly the camera.
• Top: Shows the top camera view (the view from the top of the scene). Use the 3D
View tools to pan, orbit, or dolly the camera.
• Bottom: Shows the bottom camera view (the view from the bottom of the scene).
Use the 3D View tools to pan, orbit, or dolly the camera.
• Next Camera: When the Canvas is active, changes your view to the next scene camera
based on camera order in the Layers list. (Control-C)
• Select Active Camera: Selects the “active” camera in the project: The topmost camera
in the project that is visible at the current frame (when there are multiple cameras
existing at the same frame in time). (Option-Control-C)
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• 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. Adjusts the
camera’s Focus Offset to the selected object. (Control-F) For more information, see
Depth of Field.
• Channels: This submenu sets the Canvas to display individual color or transparency
channels. Current settings are indicated with a checkmark beside the item in the menu.
This menu is identical to the Channels pop-up menu above the Canvas.
• Color: Shows the image just as it would appear on a video monitor. Visible layers
appear in natural color and transparent areas reveal the background color as set in
the Project Properties. This is black by default. (Shift-C)
• Transparent: Shows the background area of the Canvas as transparent. A checkerboard
pattern appears by default where no images block the background. (Shift-T)
• Alpha Overlay: Displays the image in normal color, but adds a red highlight over
transparent areas of the image. (Option-Shift-T)
• RGB Only: Displays the normal mix of red, green, and blue channels but transparent
areas (including semitransparent areas) are treated as opaque. (Option-Shift-C)
• Red: Sets the Canvas to display only the red channel as a range of black to white.
(Shift-R)
• Green: Sets the Canvas to display only the green channel as a range of black to white.
(Shift-G)
• Blue: Sets the Canvas to display only the blue channel as a range of black to white.
(Shift-B)
• Alpha: Sets the Canvas to display the alpha (transparency) channel of the layers in
the Canvas. (Shift-A)
• Inverted Alpha: Sets the Canvas to display an inverted view of the alpha (transparency)
channel. (Shift-Option-A)
• Toggle Current & Alpha: Switches back and forth between viewing the current state
and just the alpha channel. (V)
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• 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. Also
reduces the quality of an image as it is actively modified in the Canvas. After 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).
• Full (Shift-Q), Half, or Quarter: Each lower setting further degrades the image.
• Quality: Sets the display mode for objects in the Canvas, such as text and images, to
Draft, Normal, Best, or Custom.
• Draft: Renders objects in the Canvas at a lower quality to allow optimal project
interactivity. There is no antialiasing.
• Normal: The default setting, renders objects in the Canvas at a medium quality.
Shapes are antialiased, but 3D intersections are not.
• Best: Renders objects in the Canvas at best quality, which includes higher-quality
image resampling, antialiased intersections, and antialiased particle edges. This option
slows down project interactivity.
• Custom: Allows you to set additional controls to customize render quality. Choosing
Custom opens the Advanced Quality Options dialog. For information on the settings
in the Advanced Quality Options dialog, see Advanced Quality Settings.
Tip: When working in your project, work in Draft or Normal for better interactivity.
When you are ready to export your project, use Best or Custom.
• Render Options: This submenu contains rendering controls that typically impact playback
speed. Turn these items off to improve system performance.
• Lighting: Turns off lighting to improve performance. When lighting is enabled, a
checkmark appears beside the menu item. (Option-L)
• Shadows: Turns off rendering of shadows to improve performance. When shadow
rendering is enabled, a checkmark appears beside the menu item. (Option-Control-S)
• Reflections: Turns off rendering of reflections to improve performance. When reflection
rendering is enabled, a checkmark appears beside the menu item. (Option-Control-R)
• Depth of Field: Turns off depth-of-field rendering to improve performance. When
depth-of-field rendering is enabled, a checkmark appears beside the menu item.
(Option-Control-D)
• Motion Blur: Turns off motion blur rendering to improve performance. When motion
blur rendering is enabled, a checkmark appears beside the menu item. (Option-M)
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• 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). When
Show Overlays is active, a checkmark appears beside the menu item. (Command-Slash)
• Show Rulers: Turns display of rulers in the Canvas on and off. When rulers are visible, a
checkmark appears beside the menu item. (Command-Shift-R)
• Overlays: This submenu turns the various indicators, guides, and grids in the Canvas
on and off.
• Grid: Turns the display of a grid on and off. You can customize the grid in the Canvas
pane of Motion Preferences. When the grid is displayed, a checkmark appears beside
the menu item. (Command-Apostrophe)
• Guides: Turns the display of guides on and off. When guides are visible, a checkmark
appears beside the menu item. (Command-Semicolon)
• Dynamic Guides: Turns dynamic guides on and off. Dynamic guides are the lines that
appear when you drag one item into alignment with another layer. When dynamic
guides are enabled, a checkmark appears beside the menu item. Press N to turn
snapping on or off. (Command-Shift-Semicolon)
• Safe Zones: Turns the display of title-safe and action-safe guides on and off. You can
customize the safe zones in the Canvas pane (Zones) of Motion Preferences. When
safe zones are displayed, a checkmark appears beside the menu item. (Apostrophe)
• Film Zones: Turns display of film-based aspect ratio guides on and off. You can
customize the film zones in the Canvas pane (Zones) of Motion Preferences. When
film zones are displayed, a checkmark appears beside the menu item.
(Shift-Apostrophe)
• Handles: Turns the display of object handles in the Canvas on and off. The handles
are the corner points that let you manipulate an object. When handles are displayed,
a checkmark appears beside the menu item.
• Lines: Turns the display of object border lines on and off. When lines are displayed,
a checkmark appears beside the menu item.
• Animation Path: Turns display of keyframe animation paths on and off. Animation
paths are the lines that show where an object moves in the Canvas. When animation
paths are displayed, a checkmark appears beside the menu item.
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• 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.
• Add Horizontal Guide: Adds a moveable, horizontal guide to the center of the Canvas.
• Snap: Turns object snapping on and off in the Canvas and Timeline. Snapping aligns
objects as you drag them. When snap is enabled, a checkmark appears beside the menu
item. (N)
• Show 3D Overlays: Turns all 3D overlays on and off, including the 3D View tools, 3D
Compass, Inset view, 3D grid, and 3D scene icons.
• 3D Overlays: This submenu controls the display of 3D overlays in the Canvas.
• 3D View Tools: Turns the Camera menu and 3D View tools on and off.
• Compass: Turns the 3D Compass on and off. The compass shows your current
orientation in 3D space. The red axis is X (horizontal), the green axis is Y (vertical),
and the blue axis is Z (depth). Move the pointer over the compass and choose a new
view by clicking a colored view icon, such as Front, Left, Right, Perspective, and so
on. The Canvas animates the view change.
• Inset View: When Inset view is turned on, a window appears in the lower-right corner
of the Canvas and displays a perspective or active-camera view of your project as
you move objects in 3D space, helping you stay oriented. In the 3D pane of Motion
Preferences, you can change the size of the Inset view and specify when it appears:
during transform changes, during all changes, or when manually invoked.
• 3D Grid: Turns the 3D grid on and off. The 3D grid helps you stay oriented while
working in 3D space and can be used to guide the placement of objects in your
project. The 3D grid appears only when you are in 3D mode.
(Command-Shift-Apostrophe)
• 3D Scene Icons: Turns all 3D scene icons, such as lights and cameras on and off. The
scene icons appear in the Canvas as wireframe icons, and each includes red, green,
and blue handles that let you transform and rotate the camera or light.
• Layers Columns: Opens a submenu of commands to turn the following controls on or
off in the Layers list of the Project pane:
• Preview: Shows a thumbnail of the object. The group thumbnail represents the
cumulative result of the composite up to that point in the project.
• Opacity: Displays the current opacity (transparency) of the group or layer. You can
adjust the slider to change the item’s opacity.
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• 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.
• Kind: Identifies the type of media, including QuickTime movie, still image, QuickTime
audio, or PDF. For a list of supported codecs and file types, see Supported File Formats.
• In Use: When checked, this field indicates that the media is being used in your project.
When unchecked, the media is not used. If “Automatically manage unused media”
is selected in the General pane of Motion Preferences, Motion removes unused media
from the Media list. Disable this setting if you prefer to manage the contents of the
Media list manually.
• Duration: Displays the duration of the media in frames or timecode.
• Frame Size: Displays the native size of the image in pixels. The numbers represent
width and height. This column remains blank for audio-only files.
• Format: Displays the format of the clip. This is also sometimes referred to as a codec.
• Depth: Displays the number of colors (bit depth) of the file. Any item listed as Millions
of Colors+ indicates that the media contains an alpha channel in addition to the RGB
data.
• Video Rate: Displays the frame rate of the media.
• Audio Rate: Displays the sample rate in the audio track, measured in kilohertz (kHz).
• Audio Bit Depth: Displays the bit depth of the audio file.
• File Size: Displays the overall file size of the media on disk.
• File Created: Displays the creation date of the media.
• File Modified: Displays the last date on which the media was modified.
• Show/Hide Fonts: Displays (or hides) the Mac OS X Fonts window for selecting fonts
and font attributes. (Command-T)
• Show/Hide Colors: Displays (or hides) the Colors window for selecting colors.
(Command-Shift-C)
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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. For more information, see
Sharing to Apple Devices.
• DVD: Allows you to burn your project to a DVD. For more information, see Sharing to
Disc or Creating a Disk Image.
• Blu-ray: Allows you to burn your project to a Blu-ray disc. For more information, see
Sharing to Disc or Creating a Disk Image.
• Podcast Producer: Publishes your project to Podcast Producer (a component of
Mac OS X Server that lets you create and publish podcasts). For more information, see
Sharing to Podcast Producer and Email.
• Email: Opens your mail application and attaches your project. For more information,
see Sharing to Podcast Producer and Email.
• YouTube: Publishes your project to YouTube. For more information, see Sharing to
Video Sharing Sites.
• Facebook: Publishes your project to Facebook. For more information, see Sharing to
Video Sharing Sites.
• Vimeo: Publishes your project to Vimeo. For more information, see Sharing to Video
Sharing Sites.
• CNN iReport: Publishes your project to CNN iReport. For more information, see Sharing
to Video Sharing Sites.
• Export Movie: Exports your project as a QuickTime movie to a Finder folder. For more
information, see Exporting QuickTime, Audio, and Image Sequence Media.
• Export Selection to Movie: Exports the current selection as a QuickTime movie to a Finder
folder. For more information, see Exporting QuickTime, Audio, and Image Sequence
Media.
• Export Audio: Exports only the audio portion your project as an audio file to a Finder
folder. For more information, see Exporting QuickTime, Audio, and Image Sequence
Media.
• Save Current Frame: Saves a single image file of any video frame in your project. For
more information, see Exporting Frames.
• Export Image Sequence: Exports your project as an image sequence to a Finder folder.
For more information, see Exporting QuickTime, Audio, and Image Sequence Media.
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• 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.
• Show Share Monitor: Launches Share Monitor. For more information, see About Share
Monitor.
Window Menu
This menu contains controls to show and hide the panes in the Motion interface.
• Minimize: Shrinks the active window to the Dock. This is equivalent to clicking the
Minimize button at the upper left of the window. (Command-M)
• Minimize All: If you are using a viewer window to preview an image or clip (by
double-clicking a file in the File Browser), this command shrinks the Motion project
window and the viewer window to the Dock.
• Zoom: Resizes the active window to maximize desktop real estate. Switches between
full screen and the previously saved non-full screen state.
• Show Inspector: This submenu provides direct access to the four panes in the Inspector:
Properties (F1), Behaviors (F2), Filters (F3), and Object (F4). The Object pane changes
depending on what type of object is selected.
• Show/Hide Project Pane: Turns the display of the Project pane on or off. (F5)
• Show/Hide Timing Pane: Turns the display of the Timing pane on or off. (F6)
• Show/Hide HUD: Turns the display of the HUD on or off. (F7)
• Show/Hide Task List: The Background Task List window displays any background
processing when Motion performs optical flow retiming.
For more information on optical flow, see the Optical Flow pop-menu item in Timing
Controls in the Properties Inspector.
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• 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.
• Show Timing Pane on Second Display/Show Timing Pane in the Main Window: If you have
two displays connected to your computer, shows the Timing pane (Timeline, Audio
Timeline, and Keyframe Editor) on the second display. Choose Show Timing Pane in
the Main Window to show the pane in the main project window.
• Revert to Original Layout: If the Timing pane or Canvas are displayed on a second
monitor, shows the Timing pane or Canvas in the main project window.
• File Browser: Displays the File Browser. (Command-1)
• Library: Displays the Library. (Command-2)
• Inspector: Displays the Inspector. (Command-3)
• Layers: Displays the Layers list in the Project pane. (Command-4)
• Media: Displays the Media list in the Project pane. (Command-5)
• Audio: Displays the Audio list in the Project pane. (Command-6)
• Video Timeline: Turns the display of the Timeline on or off. If the Timing pane is not
visible, this command causes it to appear. (Command-7)
• Keyframe Editor: Turns the display of the Keyframe Editor on or off. If the Timing pane
is not visible, this command causes it to appear. (Command-8)
• Audio Timeline: Turns the display of the Audio Timeline on or off. If the Timing pane is
not visible, this command causes it to appear. (Command-9)
• Bring All to Front: If the main Motion window is behind windows of other applications
and a viewer window is selected, this command moves the Motion window to the
front. If any viewer windows are hidden behind windows from other applications, this
command moves the viewer windows in front of the other applications.
• Open Project/Untitled List: The open project and any images that are open in a viewer
window appear at the bottom of the Window menu. An unsaved project is listed as
“Untitled.” Choosing an item from this list brings it to the front.
Help Menu
The Help menu provides access to resources for learning more about Motion.
• Motion 5 Help: Opens the Motion 5 User Manual.
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• Service and Support: Opens a webpage that contains up-to-date technical support
information about Motion.
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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).
This chapter covers the following:
• General Pane (p. 168)
• Appearance Pane (p. 170)
• Project Pane (p. 172)
• Time Pane (p. 174)
• Cache Pane (p. 175)
• Canvas Pane (p. 177)
• 3D Pane (p. 179)
• Presets Pane (p. 181)
• Gestures Pane (p. 183)
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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. If a default preset has not been chosen,
the Project Browser appears at startup.
• Open Last Project: Opens the saved project from the previous session.
Interface
This section of the General Preferences pane allows you to set some general options for
the interface.
Drop Menu Delay: Determines how long you must wait before the drop menu appears
when dragging to the Timeline, Layers list, or Canvas. The drop menu provides additional
choices for editing and importing objects into the project.
Show Tooltips: This checkbox turns tooltips on and off across the application. Tooltips
provide explanatory information such as names and basic usage techniques. They appear
when you pause the pointer over tools and controls.
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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.
Show preview icons: This checkbox turns preview icons on and off in the File Browser
and Library. For example, when looking at replicators in the Library with the “Show preview
icons” checkbox selected, thumbnails of the replicators are shown.
When the checkbox is deselected, the generic icon for each item type is displayed.
Play items automatically on a single click: This checkbox controls whether the preview
area plays the contents of the item selected in the file stack.
Media
This section in the General Preferences pane contains the “Automatically manage unused
media” checkbox. When the checkbox is selected, Motion removes unused media from
the Media list when you delete that media from the Canvas, Layers list, or Timeline. If you
want to retain (in the Media list) a copy of media that is no longer used in your project,
deselect this checkbox.
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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.
Timebar Display: A pop-up menu with three options for Timeline display:
• Name: The bars in the Timeline display the object name only.
• Name Plus Thumbnail: This setting is the default. Bars in the Timeline display an icon
representing the first frame of the object followed by the name of the object.
• Filmstrip: Bars in the Timeline are displayed as a continuous strip of frames. The name
text does not appear. Only layers (shapes, images, image sequences, text, and so on)
display a thumbnail or a continuous strip of frames. Objects such as cameras, lights,
and behaviors do not display a thumbnail.
Canvas
This section of the Appearance pane in Motion Preferences contains a setting that controls
the opacity of objects that extend beyond the Canvas edges.
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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. For items that are partially transparent (contain
an alpha channel), you can set the background that appears behind the image.
Background: A pop-up menu with two options for thumbnail backgrounds:
• Checkerboard: Displays a checkerboard pattern where transparent pixels appear.
• Color: Displays a solid color where transparent pixels appear.
Background color well: When Color is chosen from the Background pop-up menu, this
color well allows you to select a new background color from the Mac OS X Colors window
or the Motion pop-up color palette.
Status Bar
The status bar is the area in the Motion workspace above the Canvas and below the
project title bar. Use these settings to customize the information displayed in the status
bar.
Dynamic Tool Info: Select this checkbox to display transform information while actively
adjusting an object using the onscreen controls. When rotating an object in the Canvas,
for example, the original rotation value and the current degree of change are displayed
in the status bar.
Color: Turn on this checkbox to display the color value of the pixel under the pointer.
Colors are displayed in the format chosen in the Display Color As pop-up menu.
Coordinates: Turn on this checkbox to display the X and Y coordinates of the current
pointer position.
Frame rate (only during playback): When this checkbox is selected, Motion displays the
frame rate of the project during playback. Nothing is displayed unless the project is
playing.
Display Color As: When the Color checkbox is selected, use this pop-up menu to choose
from among three styles for displaying the color data.
• RGB: This setting displays the red, green, blue, and alpha values of each pixel in ranges
of 0–1, although super-white values can exceed the 0–1 value range.
• RGB (Percent): This setting displays the red, green, blue, and alpha values of each pixel
in ranges (percentages) of 1–100.
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• 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.
Default Project Settings
These controls in the Project pane of Motion Preferences determine default values for
new projects.
Note: These settings only take effect in projects created after the preferences are set and
Motion is quit and reopened. To change the settings of an open project, use the Properties
Inspector instead (press Command-J, or click the Project object in the Layers list, then
click Properties in the Inspector).
Project Duration: Sets the default duration for new projects. You can enter a number
into the value field and choose Frames or Seconds from the pop-up menu.
Background Color: A color well that sets the color of the background for any new projects
that are created. Does not change the background color of the current project.
Note: To render a new background color into your final output, you must choose Solid
from the Background Color pop-up menu in the Properties Inspector (press Command-J).
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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.) For more information on bypassing the Project Browser, see Bypassing
the Project Browser.
Still Images & Layers
These settings in the Project pane of Motion Preferences control the default duration,
placement, and size of still images and imported layers, as well as layers created in Motion,
such as text, shapes, and masks.
Default Layer Duration: You can specify the duration of still images, generators, and
other layers that lack an inherent duration in one of two ways:
• Use project duration: All layers are the same duration as the project.
• Use custom duration: Layers are the duration defined in this value field.
Duration: If Default Layer Duration is set to “Use custom duration,” enter a value in this
field, and use the pop-up menu to set the time to Frames or Seconds.
Create Layers At: When you drag media items to the Canvas, Layers list, or Timeline, they
can be added to the project at the current playhead position or at the first frame. This
setting also applies to layers created within Motion, such as text or shapes.
• Current frame: Creates layers at the current playhead position.
• Start of project: Creates layers at the first frame of the project.
Large Stills: When importing large still images, set this pop-up menu to instruct Motion
to import the file at its original size or to scale the image down to fit the Canvas size.
Note: For more information on the differences between the Large Stills options, see Using
High-Resolution Still Images.
The Large Stills pop-up menu has two options:
• Do Nothing: Imports the image at its original size.
• Scale to Canvas Size: Imports and scales the image to fit the project size while
maintaining its aspect ratio.
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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.
• Timecode: Eight-digit timecode numbers appear in the timing display.
Frame Numbering: A pop-up menu that lets you choose whether frame counts begin
at zero or one.
Playback Control
These settings in the Time pane of Motion Preferences control how Motion plays back
your project.
Time View Updating: A pop-up menu that sets how the Timeline updates when you
play a project. Menu items include:
• Don’t update: The Timeline does not advance as you play. This setting improves
performance.
• Jump by pages: As the playhead reaches the end of the current Timeline, the Timeline
track area jumps forward.
• Scroll continuously: The playhead remains static and the Timeline scrolls by behind it.
If Audio Sync Is Lost: Motion attempts to keep audio and video playback locked in sync,
but if the project is too complex to play both audio and video smoothly, one or the other
must be compromised. Choose from one of two options:
• Skip video frames: Audio continues to play, but video frames are skipped to keep up.
• Pause audio playback: Audio playback is temporarily suspended during playback.
Limit playback speed to project frame rate: Motion plays back your project as fast as
possible based on the complexity of the effects and the processing power of your
computer. When this checkbox is selected, playback rate never exceeds the frame rate
of your project. This means you can watch your project play back at the same frame rate
as your exported movie. When the checkbox is deselected, playback rate is limited only
by your processor power and consequently might play much faster than the project frame
rate.
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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.
Lock keyframes in time in Keyframe Editor: When the checkbox is selected, you can
change the values of keyframes in the Keyframe Editor, but you cannot move the keyframes
forward or back in time. This helps prevent changing your animation timing as you adjust
values.
Allow sub-frame keyframing: Select this checkbox to maintain smoother animations
when recording during playback or when scaling a group of keyframes in the Keyframe
Editor using the Transform Keyframes tool.
Cache Pane
The Cache pane of Motion Preferences contains settings to manage the memory and
disk usage for projects. There are three categories of controls: Memory & Cache, Autosave,
and Optical Flow Retiming.
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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.
Autosave
These settings in the Cache pane of the Preferences window control how frequently
projects are saved, as well as the location of the saved files. Saved projects are
time-and-date stamped.
Use Autosave Vault: When this checkbox is selected, Motion stores auto-saved projects
to the location specified by the Autosave Vault Folder path. By default, the Autosave Vault
folder is located in a folder called Motion Documents in the Documents folder of your
home directory.
Save a copy every: Specifies how often, in minutes, a project is saved.
Keep at most: Specifies how many versions of the autosaved project to store in the vault.
Maximum of: Specifies the maximum number of auto-saved projects to store in the vault.
Autosave Vault Folder: The Choose button allows you to set where the Autosave files
are kept. The Reset button sets the Autosave location back to its default.
Customizing Autosave
There are a number of ways to customize Autosave for your needs.
To store auto-saved projects in a specific location
1 Choose Motion > Preferences (or press Command-Comma).
2 Click Cache.
3 In the Autosave group, turn on Use Autosave Vault.
By default, the Autosave Vault folder is located in a folder called Motion Documents in
the Documents folder of your home directory.
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To set a new location for the Autosave Vault folder
Click Choose, set a new location in the dialog, then click Choose.
To revert to an auto-saved project
1 Choose File > Restore from Autosave.
The Restore Project dialog appears.
2 In the From pop-up menu, choose a time-stamped saved project.
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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.
• In folder with source media: Click this button to save the retiming files in the same
location as the source footage.
• In this folder: Click the Choose button to specify where the optical flow retiming files
are stored. By default, the Optical Flow folder is located in the
/Users/username/Documents/Motion Documents/Retiming Cache Files/ folder.
Delete Retiming Cache: Click the Delete Retiming Cache button to delete any optical
flow retiming files and reset any objects with optical flow to frame blending. An alert
dialog appears to confirm that you want to remove all retiming files.
Reveal in Finder: Click the Reveal in Finder button to show the location of the retimed
file folder in the Finder.
Canvas Pane
The Canvas pane of Motion Preferences contains settings to customize your Canvas view.
Changes made in this pane take immediate effect in your current project. There are two
categories: Alignment and Zones.
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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.
Dynamic Guide Color: This color well sets the color for dynamic guides.
Snap Objects At Their: The pop-up menu defines how objects are aligned with other
objects when moved in the Canvas. There are three options:
• Center: Aligns objects at their centers.
• Edges: Aligns object at their edges.
• Center and Edges: Aligns objects at their centers and edges.
Ruler Location: This pop-up menu sets the position of the ruler in the Canvas. There are
four options:
• Bottom Left
• Top Left
• Top Right
• Bottom Right
Zones
These settings in the Canvas pane of Motion Preferences control safe zone sizes and
colors. Safe zones are special guides to help you avoid placing images in areas of the
screen that might not appear correctly on consumer television sets. Images that appear
outside the action-safe region might be cut off. The area outside the title-safe region
might have distortions that make text hard to read.
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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.
Action Safe Region: A slider that sets the percentage of the Canvas where the action-safe
guides appear. (Default is 90% of Canvas.)
Title Safe Region: A slider that sets the percentage of the Canvas where the title-safe
guides appear. (Default is 80% of Canvas.)
Safe Zone Color: Sets the color of the safe zone guides.
Film Zone: This pop-up menu sets the guide size to match a standard aspect ratio.
Entering a number into the value field to the right of the pop-up menu sets a custom
aspect ratio. There are five menu choices:
• Academy Flat 1.85:1
• Anamorphic Scope 2.35:1
• High Definition 16:9
• Academy Standard 4:3
• Custom
Film Zone Color: Sets the color of the film zone guides.
3D Pane
The 3D pane of Motion Preferences lets you control various aspects of working in the
Motion 3D workspace. There are two categories of controls: General 3D and 3D Grid.
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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.
• On Transform Change: The Inset view appears when adjusting an object’s transform
parameters, such as position, rotation, or scale.
• On All Changes: The Inset view appears when making adjustments specific to an object,
such as adjusting the parameters of a replicator, in the HUD or Inspector.
• Manually: When this option is selected, the Inset view is displayed all the time.
Inset view
Inset View Size: Use the slider to adjust the size of the Inset view.
Default New Group Type: Use this pop-up menu to specify whether new groups are
created as 2D or 3D groups. When set to Automatic, Motion determines the type of group
that is created based on the project. For example, when Automatic is selected and you
are working in a 3D project, new groups are 3D. If you are working in a 2D project (no
camera), new groups are 2D.
3D Grid
This area of the 3D pane of Motion Preferences lets you modify settings for the grid that
appears in the Motion 3D workspace.
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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. In this pane,
you can choose defaults, as well as create, modify, and delete settings. The default project
preset determines the settings assigned when you create a project. You can change any
of these settings while you are working by selecting the Project object in the Layers list,
then clicking Properties in the Inspector.
After a default project is set in this pane, all new projects opened from the Project Browser
are created with this setting (unless you choose another option from the Preset pop-up
menu in the Project Browser).
Project Preset list: Displays the current list of presets. The checkbox to the left of each
name identifies the default preset. The column on the right shows which presets are
locked. Locked presets cannot be modified. You can duplicate a locked preset and edit
the copy.
Default checkbox: When this checkbox is selected, the default project setting is used for
new projects. Check a different box to select a new preset.
Summary box (not labeled): To the right of the Project Preset list, the Summary box
displays details of the selected preset.
Add button (+): Click the Add button (+) to display the Project Preset Editor dialog and
create a preset.
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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. If you attempt to edit a locked preset, an alert
dialog appears, a duplicate copy of the preset is made, and your edits are applied to the
duplicate.
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To open the Project Preset Editor
In the Presets pane of Motion Preferences, do one of the following:
• Double-click a preset in the Preset list.
• Select a preset in the Preset list and click the Edit button.
Note: If the preset cannot be modified, an alert dialog appears. Click OK to create an
editable copy of the preset.
• Select an item in the Preset list, click Duplicate, select the copied preset, then click the
Edit button.
The Project Preset editor contains the following settings:
Name: This editable field contains the name for the preset.
Description: This field contains descriptive text to identify the preset. You can enter your
own descriptive text in this field. The new text will appear in the Summary box in the
Preset pane of Motion Preferences.
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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.
Frame Rate: Sets the frame rate for your preset.
Gestures Pane
The Gestures pane of Motion Preferences contains settings pertaining to using a Wacom
Intuos graphics tablet to control Motion.
You cannot turn on gestures in Motion unless you have a tablet attached to your computer
and Handwriting Recognition is turned on in the Ink preferences in System Preferences.
For convenience, you can open Ink Preferences from the Gestures Preferences pane by
clicking the Open Ink Preferences button.
For more information on using gestures, see Using Gestures.
Note: Swipes, pinches and other multi-touch gestures performed on a Multi-Touch device
are unaffected by any settings in the Gestures pane of Motion Preferences.
Gestures are: Turns gestures on or off.
Open Ink Preferences: Opens the Ink pane of Mac OS X System Preferences.
Trigger: Sets which trigger method to be used: Pen Button 1, Pen Button 2, or the Control
key on your keyboard.
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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.
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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. In addition to imported media, project files also contain shapes, masks,
and text layers you create in the application.
This chapter covers the following:
• Creating Projects (p. 185)
• Managing Projects (p. 195)
• Adding Media to a Project (p. 206)
• Managing Layers in a Project (p. 209)
• Deleting Objects from a Project (p. 213)
• Exchanging Media in a Project (p. 214)
• Source Media Parameters (p. 215)
• File Types Supported by Motion (p. 219)
• Using Media in the Library (p. 227)
• Organizing Groups and Layers in Motion (p. 233)
• Customizing and Creating Templates (p. 247)
Creating Projects
Creating a project is the first step in the Motion workflow. There are three ways to start
a project:
• Open one of the supplied templates.
• Open a blank project using a project preset.
• Open a blank project using your own settings (for example, if you need an unusual
frame size or frame rate not included in the project presets).
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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. You can create small movies for streaming on the web,
standard-definition and high-definition movies for broadcast, and even film-resolution
files for large-screen display. Regardless of the resolution you choose, the Motion workflow
is the same (although high-resolution projects using large media files can have higher
memory and graphics card requirements than projects with smaller resolutions).
Motion is hardware-dependent. This means that the type of graphics card installed on
your computer affects performance and determines the maximum file size you can import
into Motion. For most recommended cards, the image size limit is 4K or 8K. However,
other factors affect performance, including the amount of VRAM on your computer and
the number of monitors connected to your graphics card. For the best results, resize very
large images to the largest size required in the project, but no larger. For more information,
visit the Motion website at http://www.apple.com/finalcutpro/motion.
Note: Because of hardware limitations and differences, the appearance of projects shared
between computers with different installed graphics cards may vary.
Each project in Motion has a single group of project properties that define the duration
of the project, the size of the Canvas, the frame rate of playback, and other details that
affect how the composition is formatted. Later, when you finish the project and are ready
to export it, these project properties define the media file that is created. Although you
can change these settings later, it’s best to choose the settings that match your final
planned output format before you begin the project.
Regardless of the project settings, Motion lets you import nearly any kind of media file
supported by QuickTime. Further, you can mix media files with different properties in the
same project. For example, you can combine video clips of different frame sizes with
graphics files. In the end, the file you output uses the frame size and frame rate specified
by the project properties.
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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.
To filter available projects by type, select an item from the list in the sidebar. The categories
include:
• All: Displays all available projects in the project stack: blank projects, recently opened
projects, Motion templates, and Final Cut Pro X templates.
• Blank: Displays the five blank project types: Motion Project, Final Cut Effect, Final Cut
Generator, Final Cut Transition, and Final Cut Title. When starting a project, choose one
of these items. For more information, see Creating a Blank Motion Project and Creating
Templates for Final Cut Pro X.
• Recent: Displays a list of recently opened Motion projects.
• Compostions: Displays a list of preset templates in several categories, including
Atmospheric, Pulse, Snap, Splash, and Swarm.
• Final Cut Effects: Displays a list of saved effect templates for use in Final Cut Pro X.
• Final Cut Generators: Displays a list of saved generator templates for use in Final Cut Pro X.
• Final Cut Transitions: Displays a list of saved transition templates for use in Final Cut Pro X.
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• 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.
You can control the size of the thumbnails in the project stack by dragging the scale
slider at the bottom of the window, which lets you view more items without scrolling.
When you select an item in the stack, the right column of the Project Browser displays
file settings and a video preview, if one is available.
Before opening a new project, you can modify its preset resolution, frame rate, and
duration using the pop-up menus above the preview area.
Opening a Project
There are several ways to locate and open a Motion project from the Project Browser.
To open a project from the Project Browser
1 Select a category of content in the sidebar to limit which items are displayed in the project
stack.
2 Select an item from the project stack.
A video preview, if available, plays in the preview area on the right.
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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.
Using the buttons at the bottom of the Project Browser, you can also open a specific
project that doesn’t appear in the Project Browser, but is accessible through the Finder.
Alternatively, you can open a specific media file or group of files—movies, still images,
and so on—and create a Motion project containing those files.
To open an existing Motion project file that does not appear in the Project Browser
1 In the Project Browser, click Open Other or press Command-O.
The Open dialog appears.
2 In the Open dialog, navigate to the Motion project file to open, select it, then click Open.
To create a project prepopulated with specific media files
1 In the Project Browser, click Create Project From File.
The Import Files as Project dialog appears.
2 Navigate to and select the one or more media files, 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.
For example, because movie files have an inherent frame rate, aspect ratio, and field
order, those settings are dimmed in the Import Files as Project dialog. Because still images
do not have a frame rate or a field order, those settings are enabled in the dialog, allowing
you to choose a frame rate and field order for the new Motion project.
3 If needed, set the Frame Rate, Aspect Ratio, Field Order, and Audio mix settings.
If you selected an item from an image sequence, select the Image Sequence checkbox
to have Motion use each image as a frame in a movie clip. For more information, see
Image Sequences.
Except for Frame Rate, these settings can be modified after the project is created, in the
Properties Inspector. For more information, see Project Properties.
4 Click Import as Project.
The file opens in a new Motion project window.
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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).
2 When the Project Browser appears, select a template category from the Compostions
section in the sidebar.
The templates for that category appear in the project stack.
3 Click a template to see an animated preview in the preview area, along with additional
information, including resolution, duration, and frame rate.
4 To create a project from the selected template, click Open a Copy.
A new project opens in the Motion workspace. You can customize the project by editing
the text or exchanging the graphic elements with your own. The changes you make to
projects created using templates are not saved to the source template file.
For more information about using, modifying, and creating templates, see Customizing
and Creating Templates.
Creating Final Cut Pro X Templates
A special set of templates in the Project Browser lets you create special effects, animated
titles, editing transitions, and graphics generators for use in Final Cut Pro X. Available in
the Blank category of the Project Browser sidebar, the Final Cut templates contain
placeholders designed to simplify customization.
When Motion 5 and Final Cut Pro X are installed on the same computer, saving a Final
Cut template in Motion sends the custom effect to the Final Cut Pro X effects browsers,
where it can be applied to clips in the editing Timeline. For more information on using
Final Cut templates, see Creating Templates for Final Cut Pro X.
Creating a Blank Motion Project
To create a project from scratch, select the Motion Project object in the Blank category
of the Project Browser, choose a video resolution, and click Open. A new, empty project
opens in the workspace, ready for you to add objects.
To create a project
1 Choose File > New (or press Command-N).
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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. For more information on saving project files, see
Saving Projects.
Creating Blank Projects with Custom Settings
If none of the options in the Presets pop-up menu of the Project Browser meet your
needs, you can create a project with custom settings from the same window.
To create a project with custom project settings
1 Choose File > New (or press Command-N).
The Project Browser appears.
2 Select the Blank category in the sidebar, then click the Motion Project icon in the stack.
3 Choose Custom from the Preset pop-up menu above the preview area.
Additional settings controls appear.
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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.
These settings are controlled in the Project pane of Motion Preferences.
To bypass the Project Browser
1 Choose Motion > Preferences (or press Command-Comma).
The Motion Preferences window appears.
2 Click the Project icon to open the Project pane.
3 In the For New Documents setting, click Use Project.
Note: If you haven’t assigned a preset project, the setting reads: Use Project: Nothing
Selected. When you choose a project, the text updates to reflect the name of the selected
project.
4 Click Choose.
A window opens containing the contents of the Project Browser.
5 In the Project Browser window, select a category in the sidebar and a project type from
the center stack, then choose a preset from the right column.
6 Click Open.
The selected project is assigned to the Use Project option in the Project pane of the
Preferences window.
From now on, the Project Browser does not appear when you choose File > New (or press
Command-N). Instead, a new project opens in the format set in Motion Preferences.
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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.
To create a custom preset
1 Choose Motion > Preferences (or press Command-Comma).
2 Open the Presets pane.
3 Click the Add button (+) beneath the presets list.
The Project Preset Editor appears.
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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.
The new preset appears in the Presets pane and in the Presets pop-up menu in the Project
Browser.
6 If you’re done creating project presets, close Motion Preferences.
Note: For more information on industry-standard frame sizes, pixel aspect ratios, field
order, and frame rates, see Supported File Formats.
To duplicate a preset before editing it
1 In Motion Preferences, select a preset in the Presets pane.
2 Click Duplicate.
The duplicated preset appears underneath the original preset with “copy” appended to
its title.
To edit a preset
1 In Motion Preferences, select a preset in the Presets pane.
2 Click Edit.
3 When the Project Preset Editor appears, make your changes, then click OK.
Note: You cannot edit or delete locked project presets.
To delete a custom preset
1 In Motion Preferences, select a preset in the Presets pane.
2 Click the Delete button (–) underneath the presets list.
Note: You cannot edit or delete locked project presets. You cannot unlock a preset that
is built into Motion. When the preset is double-clicked, an alert appears stating that the
preset cannot be modified. To create a copy of the preset that you can customize, click
OK.
Moving Presets Between Computers
Each preset you create is saved as a separate file. If you create custom presets that you
rely on, you can move them to other computers that have Motion installed. All user-created
presets are stored in the /Users/username/Library/Application
Support/Motion/Presets/Project/ folder.
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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.
Saving Projects
As with any application, it’s wise to save early and often as you work on your project. This
way, you don’t lose work due to unforeseen circumstances such as a blackout occurring
just as you were about to finish your latest animated masterpiece.
In addition to preserving your work for future use, Motion’s save commands can be used
in other ways to manage the development of your project. For example, if you’re happy
with your current composition but want to create a variation, use the Save As command
to save a copy of the current project. You can then alter the duplicate, leaving your original
project alone in case you don’t like your changes.
To save a project
1 Choose File > Save (or press Command-S).
If the project has not been saved, the Save As dialog appears.
2 Enter a name into the Save As field, choose a location on your hard disk to save the file,
then click Save.
Note: If the project has been saved, the project file is updated without opening a dialog.
To save a duplicate of a project
1 Choose File > Save As (or press Command-Shift-S).
The Save As dialog appears.
2 Enter a name into the Save As field, choose a location on your hard disk, then click Save.
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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.
To use the Collect Media save function
1 Choose File > Save As (or press Command-Shift-S).
The Save As dialog appears.
2 Choose Copy to Folder from the Collect Media pop-up menu.
This creates a folder with the name specified in the Save As field. A Motion project file of
the same name is created in that folder, as well as a folder named “Media” containing all
media files used in the project.
When using this option, you can specify whether unused media are collected as well.
Using Autosave
Motion saves backups of your project in a folder on your hard disk. In the Cache pane of
Motion Preferences, you can specify how frequently projects are saved, as well as the
location of the saved files. Saved projects are time- and date-stamped. For more
information about autosave, see Autosave.
To store autosaved projects in a specific location
1 Choose Motion > Preferences (or press Command-Comma).
2 Click Cache.
3 In the Autosave group, select Use Autosave Vault.
By default, the Autosave Vault folder is located in your /Users/username/Documents/Motion
Documents/ folder.
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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. You can save your project in the state you like it, then make the changes
you want. If you don’t like the result, use the Revert to Saved command to immediately
go back to the way it was before.
Note: You can also use the application’s unlimited undo feature to achieve the same
purpose in incremental steps. For more information on the Undo command, see Edit
Menu.
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To revert a project to the last saved version
Choose File > Revert to Saved.
Important: This command cannot be undone.
Opening and Closing Projects
You can open a saved project file in the Finder or from within Motion. Only one project
can be open at a time.
To open a project file in the Finder
Do one of the following:
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Double-click a Motion project file.
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Select a Motion project file, then choose File > Open (or press Command-O).
Select a Motion project file, then drag it onto the Motion application icon in the
Applications folder or in the Dock, if you’ve placed one there.
Control-click a Motion project file, then choose Open from the shortcut menu.
Motion starts and opens the selected project.
To open a project file from within Motion using the Open command
1 Choose File > Open (or press Command-O).
The Open dialog appears.
2 In the Open dialog, navigate to the project file you want, then click Open.
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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.
For example, because movie files have an inherent frame rate, aspect ratio, and field
order, those settings are dimmed in the Import Files as Project dialog. Because still images
do not have a frame rate or a field order, those settings are enabled in the dialog, allowing
you to choose a frame rate and field order for the new Motion project.
3 If needed, set the Frame Rate, Aspect Ratio, Field Order, and Audio mix settings.
If you selected an item from an image sequence, select the Image Sequence checkbox
to have Motion use each image as a frame in a movie clip. For more information, see
Image Sequences.
Except for Frame Rate, these settings can be modified after the project is created, in the
Properties Inspector. For more information, see Project Properties.
4 Click Import as Project.
The file opens in a Motion project window.
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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. In addition, any
third-party Motion plug-ins or nonstandard fonts used in the project must be installed
on the new computer, or they’ll be unavailable to your project.
Similarly, when you finish a project and want to archive it, it’s a good idea to archive the
project file and all media, (especially media that wasn’t captured from a device-controllable
video or audio source), graphics, fonts, custom behaviors, filters, and third-party add-ons
used in the project. If you need to restore the project for later revisions, you’ll have
everything you need to get started quickly. If you have a recordable CD or DVD drive,
backing up your media is easy. For more information on copying files to a CD or DVD,
see Mac Help in the Finder Help menu.
The easiest way to collect all media for your project is to use the Collect Media feature.
For more information, see Collecting Media.
Note: If you move a project to another computer without collecting, its media can go
offline even though you’ve moved its media files with it. For more information on how
to relink media files to your project, see Online Versus Offline Media.
Unused Media
By default, media used by objects added to your project are managed by Motion. If you
delete an object from the Canvas or Layers list, the source media is removed from the
Media list. You can turn off this feature in the General pane of Motion Preferences. For
more information, see Media.
Searching for Projects Using the Finder
Spotlight indexes the following properties of Motion projects, allowing you to perform
advanced searches. Use Spotlight in the Finder to take advantage of this feature.
Project property
Description
Width
Project width, in pixels
Height
Project height, in pixels
Duration
Project duration, in seconds
Layer name
The name of a layer in a project
Media name
The name of a media object in a project
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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. You can change these properties at any time, even after you
add objects to the project.
The Properties Inspector lets you define the most essential attributes of a project. By
choosing different parameters, you can accommodate nearly any video or film format
you need to output to. These properties are the default settings used when you export
your project.
To edit the properties of an existing project
1 Do one of the following:
• Choose Edit > Project Properties (or press Command-J).
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• 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.
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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.
Width and Height: Use this value slider to define the size of the Canvas and the default
output resolution of your project. Drag left or right over the values to decrease or increase
them. Frame size is usually defined by the video format you plan on outputting to. For
example, NTSC DV format video is 720 x 480, whereas PAL DV format video has a frame
size of 720 x 576.
Pixel Aspect Ratio: Use this pop-up menu to set whether the project is created using
square or nonsquare pixels. Computer displays, film, and high-definition video use square
pixels, while standard-definition video uses nonsquare pixels. Choose Square for projects
intended for the web, high-definition projects, and film, or choose a nonsquare pixel ratio
corresponding to each international standard-definition broadcast format. A value slider
to the right of this pop-up menu displays the numerical aspect ratio, in case you need to
change the dimensions manually.
Field Order: Use this pop-up menu to set field order if the project uses interlaced video.
Project field order should match the field order of the device being used to output the
resulting QuickTime file to video. When working with progressive-scan video or film,
choose None.
Frame Rate: Use this display field to see the project frame rate (in frames per second).
Frame rate should match that of the format you output to. For example, film is 24 fps,
PAL video is 25 fps, and NTSC video is 29.97 fps.
Important: Frame rates cannot be changed for existing projects.
Duration: Use this value field to modify the project’s Timeline duration. Use the adjacent
pop-up menu to define the duration units (Frames, Timecode, or Seconds).
Overwrite FCP Duration: (This checkbox appears only in Final Cut Transition projects.)
When creating custom transitions in Motion for use in Final Cut Pro X, select this checkbox
to overwrite the default transition duration (as defined in the Editing pane of Final Cut Pro
Preferences). For more information, see Creating Templates for Final Cut Pro X.
Start Timecode: Use this value field to set the starting timecode displayed in the project.
Background Color: Use this color well to set the background color of the Canvas.
Theme: Use this pop-up menu to assign a theme to the project.
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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. In the following images of the
Canvas, Reflection is turned on for the elliptical shape (in the shape’s Properties
Inspector). In the left image, the elliptical shape retains its original white color because
Background is set to Solid. In the right image, the pink background is reflected in the
elliptical shape because Background is set to Environment.
Motion Blur and Reflections Settings
Below the General section of the Properties Inspector are two sections that can affect
how your project looks when exported: Motion Blur and Reflections.
The Motion Blur controls simulate the effect a camera’s mechanical shutter has on a frame
of film or video when the camera or its subject is moving. In Motion, motion blur affects
objects in your project that are animated using behaviors or keyframes. This allows you
to create more natural-looking motion in your project, even though the animation is
artificially created. As with a camera, faster objects have more blur; slower objects have
less blur.
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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. Increasing the shutter angle increases the number of frames over which
the shutter is open.
The following image shows a shape keyframed to move quickly across the Canvas
horizontally.
In the next image, Motion Blur is enabled and Samples is set to the default value of 8.
Note: When using larger Shutter Angle values, it may be necessary to increase the Samples
value to eliminate unwanted artifacts.
In the above image, the Shutter Angle is set to the default of 360 degrees, which represents
1 frame. In the following image, Shutter Angle is set to 600 degrees.
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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.
Description Field
At the bottom of the Properties Inspector is a field where you can enter a brief description
of the project, including significant characteristics of the project preset, such as frame
size and frame rate.
Changing the Frame Size of a Project
When you change the frame size of a project (via the Width and Height parameters in
the Properties Inspector), you effectively change the size of the Canvas, increasing or
reducing layout space for objects in the project.
Changing the size of the Canvas does not change the size or position of objects in the
Canvas. Further, because the coordinate system in Motion uses 0, 0 as the center of the
frame, all objects remain arranged in their current positions relative to the center of the
frame as the edge of the frame shrinks toward the center. This can result in objects being
cut off as the frame shrinks past their edges.
In the following example, a project with a frame size of 1280 x 720 is reduced to 320 x 240.
The 720 x 480 video clip is smaller than the original frame size but bigger than the reduced
frame size.
Original frame size (1280 x 720)
Reduced frame size (320 x 240)
Note: Because Motion is resolution-independent, it’s not usually necessary to change
your project’s frame size. You can output a project at any size, regardless of the current
frame size, by changing the settings in Motion’s Share windows. For example, if you build
a project with a frame size for standard-definition broadcast, you can still export a
half-resolution version of the project to post on the web by exporting to the necessary
size.
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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.
Note: Layered Photoshop files have additional import options available from the drop
menu. For more information, see Adding Layered Photoshop Files to a Project.
The Link Between Motion Layers and Media Files
Before learning how to add media to your Motion project, it’s important to understand
the correspondence between layers and source media. Every time you add a file to your
project, you create a link between the layer you see in the Layers list and Canvas and its
corresponding media file on your hard disk.
Motion is a nondestructive application. This means that changes you make to media
objects in a Motion project aren’t applied to the source media files on the hard disk.
Because of this link, when you add a file to a project, the file must remain available on
your hard disk for as long as you work on that project. If you move, delete, or rename
media files that correspond to layers in a Motion project, those layers go “offline.”
If this happens, it’s easy to reconnect the offline layers in your project with new copies
of the media you lost, assuming those files are still available. For more information, see
Online Versus Offline Media.
Selecting Files in the File Browser
You can add media files to a project using the File Browser or the Import command in
the File menu. In most cases, the File Browser is more convenient and gives you more
control over how the resulting objects appear in the project.
Before adding media files, you select them in the File Browser. You can add files to a
project individually or in groups.
To select media files in the File Browser
1 Open the File Browser.
2 Select files by doing one of the following:
• Click a single file.
• While holding down the Shift or Command key, click to select multiple files.
• In list view, press Shift and use the Up Arrow and Down Arrow keys to add files to the
current selection.
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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.
To add media files to a project in a new group
1 If the Create Layers At setting in the Project pane of Motion Preferences is set to “Current
frame,” move the playhead to the frame in the Timeline where you want the first frame
of the file to start.
Note: If the Create Layers At setting is set to “Start of project,” this step is unnecessary
because imported files are placed at frame 1.
2 Select media files in the File Browser.
3 Do one of the following:
• Drag the files into the Canvas, placing them at any position.
• Click the Import button to add the files to the center of the Canvas.
• Drag the files into the empty lower area of the Layers list.
• Drag the files into the empty lower area of the Timeline.
• Choose File > Import (or press Command-I), select files in the Import Files dialog, then
click Open.
A new group appears the top of the Layers list, and all imported files appear as layers
nested in the group. Each new layer’s start time in the Timeline is set to the position
of the playhead in step 1.
To add media files to a group
1 If the Create Layers At setting in the Project pane of Motion Preferences is set to “Current
frame,” move the playhead to the frame in the Timeline where you want the first frame
of the file to start.
Note: If the Create Layers At setting is set to “Start of project,” this step is unnecessary
because imported files are placed at frame 1.
2 Open the File Browser and Layers list.
3 Select media files in the File Browser.
4 To nest the media files in a group, do one of the following:
• Drag the files on top of a group in the Layers list.
The imported files appear as new layers in the group, placed above existing layers in
the group.
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• 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. Each layer’s start time in the Timeline is set to the position of
the playhead in step 1.
You can also add media files to your project without having them appear in the
composition. You do this by ragging a file into the Media list. This allows you to store
media objects you might want to use in the future.
To drag media files to a project without using them in the composition
1 Open the Media list.
2 Drag media files from the File Browser into the Media list.
The resulting media objects are added to the project but don’t appear in the Canvas,
Layers list, or Timeline.
Adding Layered Photoshop Files to a Project
You can add a layered Photoshop file to your project by dragging it to the Canvas, Layers
list, or Timeline, or by using the Import button or Import command. Using the Import
button (in the preview area) collapses all layers of the Photoshop file into a single Motion
layer, by default. To preserve the layers of the imported file, use the drop menu or the
File > Import command.
To add a layered Photoshop file using the drop menu
1 Drag a layered Photoshop file from the File Browser into the Canvas, Layers list, or Timeline.
2 Before releasing the mouse button, pause until the Canvas drop menu appears and
pointer becomes curved.
This menu presents commands for importing the layered file.
3 Continuing to hold down the mouse button, drag the curved pointer over a command
in the drop menu, and when the menu item is highlighted, release the mouse button.
The layers of the Photoshop file are added using the command you choose.
The Canvas drop menu has the following options:
• Import Merged Layers: All layers of the Photoshop file are collapsed into a single Motion
layer.
• Import All Layers: A group is created and nested in the group. Each layer of the
Photoshop file is preserved as a separate Motion layer in this new group.
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• [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.
2 Select the layered Photoshop file to import, then click Import.
The Pick Layer to Import dialog appears.
3 Choose a command from the Layer Name pop-up menu:
• Merged Layers: All layers of the Photoshop file are collapsed into a single Motion layer.
• All Layers: A group is created and nested in the selected group. Each layer of the
Photoshop file is preserved as a separate Motion layer in this group.
• [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.
If you don’t like the layer you chose, you can pick a different one from the Photoshop
file without deleting or importing again. You do so by selecting the recently imported
Photoshop layer, then choosing a different Photoshop layer from the Layer pop-up
menu in the Properties Inspector.
Managing Layers in a Project
When you add a media file to your project, a corresponding image layer appears in the
Canvas, Layers list, and Timeline. You can duplicate any image layer or effects object in
the Canvas, Layers list, or Timeline to create as many copies as you need. Each copy you
create has individual parameters in the Inspector, which lets you modify and animate
each duplicate layer.
The Relationship Between Source Media and Image Layers
Every media file you add to your project places corresponding source media in the Media
list. This means that if you import the same file into your project five times, five identical
source media items are added in the Media list.
However, if you duplicate a layer in the Layers list, you create an instance of the layer but
not a new source item in the Media list. Rather, both duplicate layers are linked to a single
source item in the Media list.
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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. Another way to duplicate an object is to use the Make
Clone Layer command. For more information on the Make Clone Layer command, see
Making Clone Layers.
In a project with duplicated layers, you can adjust the attributes of all duplicates
simultaneously by adjusting the source media’s parameters. You do this by selecting the
source media in the Media list, then modifying its parameters in the Media Inspector.
These parameters define the source media’s essential properties, including frame rate,
pixel aspect ratio, interlacing, and alpha channel parameters. There are also parameters
that allow you to define source media’s end condition, reversal, cropping, and timing.
For more information on Media parameters, see Source Media Parameters.
Seeing the Relationship Between Layers and Source Media
Two useful parameters let you see the relationship between image layers in the
composition and their source media in the Media list:
• Media parameter: This image well in the Properties Inspector identifies the source media
of the selected layer in Layers list.
• Linked Objects list: This list in the Media Inspector displays all image layers in the Layers
list that correspond to the source media selected in the Media list. Changing a layer’s
name in the Layers list updates the name that appears in the Linked Objects list.
Using the Reveal Source Media Command
A fast way to find a layer’s source media is to use the Reveal Source Media command.
To reveal a layer’s source media in the Media list
Do one of the following:
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Control-click a layer in the Canvas, Layers list, or Timeline, then choose Reveal Source
Media from the shortcut menu.
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Select a layer, then choose Object > Reveal Source Media (or press Shift-F).
The Media list opens, with the source media selected. The Media Inspector also opens,
displaying the source media’s parameters.
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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 a layer goes offline, a question mark icon appears beside the empty preview
thumbnail in the Layers list.
Icon indicates that media
is offline.
In the Media list, a question mark icon replaces the missing preview thumbnail.
Offline media
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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 manually reconnect an offline file
1 In the alert dialog, click Reconnect.
In the manual reconnection dialog that appears, navigate to the location of the missing
file.
2 Select the file, then click Open.
The file is reconnected. If more than one missing media file appears in the same folder,
all files are reconnected.
If you can’t find the file manually, use the offline media Search feature.
To search for and reconnect offline media files
1 In the alert dialog, click Search.
Motion attempts to find the first missing file in the list. If the search is successful, a dialog
shows the missing media file.
2 Select the file, then click Open to reconnect it.
If the search is unsuccessful, use the manual reconnection dialog to navigate to the file.
When you locate it, select the file, then click Open.
To cancel an active search
1 Click Cancel.
The manual reconnection dialog appears.
2 In the dialog, navigate to the file’s location, select the file, then click Open.
The file is reconnected.
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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.
If you do not immediately reconnect an offline layer, you can still save changes to the
project and even close it again, then reconnect the offline layers later, via the Reconnect
Media File button in the Media Inspector
To reconnect offline media via the Media Inspector
1 Open the Media list.
2 Select the offline layer to reconnect.
3 Open the Media pane in the Inspector.
4 Click the Reconnect Media File button under the Linked Objects list.
Motion attempts to find the first missing file in the list. If it is found, a file dialog appears
with the missing media file selected. If the search is unsuccessful, you navigate manually
to file’s location, then select the file.
5 Click Open to reconnect the file.
Note: You can also use the File > Reconnect Media command.
If more than one missing media file appears in the same folder, clicking Open reconnects
all files.
Deleting Objects from a Project
There are two ways to delete an object (an image layer or effects object) in Motion:
• You can delete a single instance of an object from the composition by deleting it in
the Layers list, Timeline, or Canvas. By default, this removes the object from use and
removes its source media in the Media list if there are no other instances of it in the
composition.
• You can delete the source media in the Media list. Doing this removes all corresponding
instances of that media in your project.
You can delete a single instance of an object from the composition by deleting it in the
Layers list, Timeline, or Canvas. By default, this removes the object from use and removes
its source media in the Media list if there are no other instances of it in the composition.
Alternatively, you can delete the source media in the Media list. Doing this also removes
all corresponding instances of that media in your project.
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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.
To delete all objects that correspond to source media in the Media list
1 Open the Media list, then select the source media to delete.
2 Do one of the following:
• Choose Edit > Delete.
• Press the Delete key.
A dialog appears and prompts you to confirm the deletion.
3 Click Delete.
Exchanging Media in a Project
You can overwrite an image layer with media from a different file in the File Browser or
Library. This process, called exchanging media, replaces the layer’s original source media
link with a new source media link. When you exchange a layer’s source media, the layer
retains its Property Inspector parameter values (including the Position, Scale, and Opacity,
and Blend Mode), as well as applied filters, behaviors, masks, or keyframes.
The exchange operation allows you to replace layers in your project even after you’ve
modified and animated them. If you’re unhappy with an element of your composition,
exchange it with a new one.
Important: You can only exchange layers that are linked to media files on disk. You cannot
exchange Motion-generated objects such as particle systems, generators, shapes, or text
objects.
To exchange media in a layer
1 Drag a media file from the File Browser onto a layer in the Layers list.
2 When a curved pointer appears, release the mouse button.
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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.
The original source media is replaced by new source media in the Media list and in any
layers in the project linked to the source media.
Source Media Parameters
When you select a source media item in the Media list, the Media Inspector displays
adjustable parameters that define how the image or movie clip is displayed and
composited in the project.
Motion attempts to interpret the correct parameter settings for each source media item
you add to a project. However, additional manual adjustment is sometimes necessary.
Because Motion is a nondestructive application, changes made to these parameters are
not applied to the source media files on disk. Parameter changes affect how objects are
drawn in Motion.
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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.
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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. Motion
assigns an option based on an analysis of the object when it is imported, but you can
override the default if necessary, by choosing any of the following:
• None/Ignore: This is the default setting for objects with no alpha channel. This option
also allows you to ignore an object’s alpha channel, so the entire object appears solid.
• Straight: These alpha channels are kept separate from the red, green, and blue channels
of an image. Media files using straight alpha channels appear fine when used in a
composition, but they may look odd when viewed in another application. Translucent
effects such as volumetric lighting or lens flares in a computer-generated image can
appear distorted until the clip is used in a composition. If Straight is chosen but you
see a black, white, or colored fringe around the object, this parameter is incorrectly set
and should be changed to a Premultiplied option, depending on the color of the fringe.
• Premultiplied-Black: This type of alpha channel is multiplied with the clip’s red, green,
and blue channels. As a result, objects with premultiplied alpha channels look correct,
even with translucent lighting effects, because the entire image is precomposited
against a solid color. This option interprets alpha channels that are precomposited
against black.
• Premultiplied-White: This option interprets alpha channels that are precomposited
against white.
• Guess Alpha Type: This option forces Motion to analyze the file in an attempt to figure
out what kind of alpha channel is used. If you’re unsure, use this setting.
Invert Alpha: Select this checkbox to invert an alpha channel that is incorrectly generated
in reverse. Ordinarily, an alpha channel is a grayscale channel, where white represents
areas of 100 percent opacity (solid), gray regions represent translucent areas, and black
represents 0 percent opacity (transparent).
Pixel Aspect Ratio: Use this pop-up menu to set the type of pixel relevant to the project,
square or nonsquare. In general, objects created for computer display, film, and
high-definition video use square pixels, while objects created for some video formats
(such as DV, HDV, DVCPRO HD, and others) use nonsquare pixels. A value field to the right
of this pop-up menu displays the numeric aspect ratio, in case you need a custom ratio.
By correctly identifying each object you add to your project, you can mix and match both
kinds of media.
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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. By correctly identifying each object in your project, you can mix and
match clips with a different field order. For more information about field order and
interlacing, see Field Order.
Frame Rate: Use this pop-up menu to choose a frame rate in frames per second (fps)
that matches a clip’s native rate. For example, film is 24 fps, PAL video is 25 fps, and NTSC
video is 29.97 fps. Additional frame rates are available for other video formats. If the frame
rate you require is not listed, enter a number in the text field to the right of the pop-up
menu. If you modify a QuickTime file’s frame rate but need to change it back to the file’s
original rate, choose “From file” at the bottom of the Frame Rate pop-up menu.
Although you can mix clips using different frame rates, clips playing at a frame rate
different from that of the project might not play smoothly.
Note: Project frame rates are determined by the project preset. To edit a preset or to
create a preset, choose Motion > Preferences and use the options in the Presets pane.
Fixed Width and Fixed Height: Use these sliders (available for still images) to change
the resolution of source media. When the Large Stills control (in Motion Preferences) is
set to Scale to Canvas Size, these values display the resolution of the original file.
When a PDF is selected in the Media list, these controls set the maximum resolution to
which a PDF object can be smoothly scaled. For more information, see Fixing the
Resolution of a PDF Object.
Crop: Click the disclosure triangle to reveal four sliders that define the number of pixels
to be cropped from each of the source media’s four sides, relative to the outer edge of
the bounding box that surrounds that source media. Cropping an item in the Media list
also crops all instances of that item in layers of the project. A similar Crop parameter
appears in the Properties Inspector when you select a layer in the Layers list. For more
information, see Parameters in the Properties Inspector.
Timing: Use these value sliders to set the start, end, and duration of the source media:
• Start: Sets the In point of the source media, in constant and variable speed modes.
Adjusting this parameter moves the In point to the specified frame without affecting
the duration of the media.
• End: Sets the Out point of the source media, in constant and variable speed modes.
Adjusting this parameter moves the Out point to the specified frame without affecting
the duration of the media.
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• 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. The first column shows the name of the group
containing an instance of the source media; the second column shows the layer name.
Changing the layer name in the Layers list updates the name appearing in this list.
Replace Media File: Use this button to relink media in your project to a source file on
disk. This feature is primarily useful for relinking offline media, but can also be used to
change source media (changing all layers that are linked to that source media).
Summary: Use this information pane to see the properties of the media file on disk that
is linked to the item selected in the Media list.
File Types Supported by Motion
Motion accepts the most popular multimedia file formats supported by QuickTime in the
following categories:
• QuickTime movies
• Still image files
• Image sequences
• Layered Photoshop files
• PDF files
• Audio files
QuickTime Movies
Motion supports QuickTime movies using any file format (codec) installed on your
computer.
Although you can import movies in nearly any codec, avoid using highly compressed
clips in projects. Excessively compressed clips can display undesirable visual artifacts.
Fortunately, QuickTime provides many codecs ideal for moving uncompressed or minimally
compressed video files between applications, including Apple ProRes 4444, Apple ProRes
422 (HQ), Apple ProRes 422, Uncompressed 8- and 10-bit 4:2:2, Pixlet, None, Animation,
Apple M-JPEG A and B, DVCPRO-50, and Apple DV/DVCPRO.
Some codecs support alpha channels, which define areas of transparency in the clip. If a
QuickTime clip has an alpha channel, Motion uses it in your project.
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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. As with video clips, you can mix still
image files with differing frame sizes and pixel aspect ratios.
Using High-Resolution Still Images
A common and effective use of still images in motion graphics work is the animation of
high-resolution files. The DPI (dots per inch) of image files as defined in programs like
Photoshop does not apply to video, because the dimensions of each imported still image
are defined by the number of pixels. If the dimensions of an imported image are larger
than the frame size of the Motion project, the image extends beyond the borders of the
Canvas.
You can reduce the scale of the image to fit the project’s frame size. You can also animate
its Scale parameter (in the Properties Inspector) to zoom into or out of the image, or
animate its Position parameter to pan the image.
Because Motion is graphics-card dependent, file-size import limitations vary from computer
to computer. When you import an image that is too large, an alert dialog appears, stating:
“This media is too large to render at full resolution, and will be shown at a lower quality.”
Click OK to import the image at a lower quality. For more information on recommended
graphics cards, visit the Motion website at http://www.apple.com/finalcutpro/motion.
For importing large still images, you can set an option in the Preferences window to
import files at their original size or to scale images to fit the Canvas size.
To set the large still image import preference
1 Choose Motion > Preferences (or press Command-Comma).
The Motion Preferences window appears.
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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.
• Scale to Canvas Size: Imports and scales the image to fit the project size while
maintaining its native aspect ratio.
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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.
Fixed Width and
Height parameters
Still Image Duration
When you import a still image, the image assumes a duration equal to the current duration
of the project. Increasing the duration of the project does not increase the duration of
an image that’s imported. Still images have infinite duration in Motion, so you can stretch
them in the Timeline to be as long as necessary. For more information about modifying
objects in the Timeline, see Using the Timeline.
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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.
Image sequences use the same variety of file formats as still image files. Some of the most
popular formats for saving image sequences include SGI, BMP, JPEG, TIFF, and TGA. Like
still image formats, many of these support alpha channels, which are used by Motion.
Because image sequences have been around for so long, they remain the
lowest-common-denominator file format for exchanging video across editing and
compositing applications. Although QuickTime is increasingly used to exchange video
clips between platforms, image sequences are still used, especially in film compositing.
As with QuickTime video clips, you can mix image sequences of different formats, using
different frame sizes, pixel aspect ratios, frame rates, and interlacing. For more information,
see Supported File Formats.
Important: Any imported image sequence must contain three or more digits of
padding—for example, “imagename.0001.tif.”
Collapsing Image Sequences
The “Show image sequences as collapsed” button at the bottom of the File Browser allows
you to display image sequences as a single object, rather than as the collection of files
on your disk.
Click to collapse
or expand image
sequences.
Note: You can turn this feature off for numbered image files that aren’t used as an image
sequence. For example, pictures taken with digital cameras often have numbered filenames
that can be mistaken for an image sequence.
Layered Photoshop Files
You can also import layered Photoshop files. Many motion graphics professionals create
layouts in Photoshop, then import the resulting multilayered file into Motion, where the
layers are animated and combined with other imported and Motion-generated objects.
There are several ways to import layered Photoshop files:
• With all Photoshop layers merged together as a single Motion layer
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• 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.
Incompatible Effects
The following Photoshop effects are not imported into Motion:
• Layer effects
• Layer masks
• Adjustment layers
• Paths
• Shapes
Note: Motion does not support Photoshop layer sets.
For more information on how to import layered Photoshop files, see Adding Layered
Photoshop Files to a Project.
PDF Files
The PDF file format is a PostScript-based document format that accommodates
PostScript-based graphics and text, as well as bitmap graphics. Areas of transparency in
a PDF file are also transparent in Motion.
PDF files are capable of storing PostScript-based illustrations. Unlike graphics file formats
such as TIFF and JPEG, which save images as a collection of pixels at a given resolution
divided into red, green, and blue channels, PostScript-based illustrations are saved as
mathematical descriptions of how the artwork is drawn. As a result, PDF files using
PostScript-based artwork and text have infinite resolution.
The practical difference between bitmap files and PostScript-based files is that scaling a
bitmap beyond 100 percent results in the image progressively softening the more you
increase its size. PostScript-based illustrations remain sharp and clear no matter how large
or how small you scale them.
When importing a PDF file, its size is relative to the original page size of the file. As a
result, even small graphics can have a large frame size, with empty space surrounding
the graphic. When exporting a graphic as a PDF file for use in Motion, you may want to
scale the graphic to fit the page dimensions, or reduce the page size in the source
application’s page preferences to fit the graphic’s dimensions.
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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.
Select the PDF source media in the Media list to activate the Media pane of the Inspector.
Adjust the following controls to modify the PDF’s fixed-resolution parameters.
Pixel Aspect Ratio: Use this pop-up menu to assign a nonsquare pixel aspect ratio to the
file. In most cases, the “From file” menu option is the best choice because it assigns the
PDF source file’s native aspect ratio. Choose a different menu item only if you want to
override that native setting.
Fixed Resolution: Select this checkbox to fix the resolution of PDF source media to the
size specified in the Fixed Width and Fixed Height sliders.
Fixed Width: Use this slider to set the maximum horizontal resolution to which a PDF
object can be smoothly scaled.
Fixed Height: Use this slider to set the maximum vertical resolution to which a PDF object
can be smoothly scaled.
Use Background Color: Select this checkbox to set a substitute a custom background
color for transparent portions of the PDF. Choose the background color in Background
Color controls
Background Color: Use these color controls, available when Use Background Color is
selected, to set the background color for transparent portions of the PDF.
Crop: Use these sliders sliders (Left, Right, Bottom, and Top) to crop the edges of the PDF
image, if necessary. These controls crop the PDF source media (and all layers linked to
that source media). To crop an individual layer, use the Crop parameters in the layer’s
Properties Inspector.
Mixed Content in PDF Files
Although PDF files can contain a mix of PostScript-based art, PostScript text, and
bitmapped graphics, each format has different scaling properties. PostScript-based art
and text scale smoothly, but bitmapped graphics embedded in a PDF file are subject to
the same scaling issues as other bitmapped graphics formats. As a result, bitmapped
graphics can soften if scaled larger than their original size.
Note: Form objects, buttons, and JavaScript objects that are present in an imported PDF
file do not appear in Motion.
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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.
More About Alpha Channels
Ordinary video clips and image files have three channels of color information: red, green,
and blue. Many video and image file formats also support an additional alpha channel,
which contains information defining areas of transparency. An alpha channel is a grayscale
channel where white represents areas of 100 percent opacity (solid), gray regions represent
translucent areas, and black represents 0 percent opacity (transparent).
When you import a QuickTime movie or an image file into a project, its alpha channel is
immediately recognized by Motion. The alpha channel is then used to composite that
object against other objects behind it in the Canvas.
There are two ways to embed alpha channel information into files. Motion attempts to
determine which method a media file uses:
• Straight: Straight alpha channels are kept separate from the red, green, and blue
channels of an image. Media files using straight alpha channels appear fine when used
in a composition, but they can look odd when viewed in another application. Translucent
effects such as volumetric lighting or lens flares in a computer-generated image can
appear distorted until the clip is used in a composition.
• Premultiplied: The transparency information is stored in the alpha channel as well as
in the visible red, green, and blue channels, which are multiplied with a background
color (generally black or white).
The only time it really matters which kind of alpha channel an object has is when Motion
doesn’t correctly identify it. If an media item’s alpha channel is set to Straight in the Media
list when it’s really premultiplied, the image can appear fringed with the premultiplied
color around its edges. If this happens, select the problematic item in the Media list, then
change its Alpha Type parameter in the Media Inspector.
Audio Files
You can import many audio file formats into your project, including WAV, AIFF, .cdda,
MP3, and AAC. Although Motion is not a full-featured audio editing and mixing
environment such as GarageBand or Logic Pro, you can import music clips, dialogue, and
sound effects. If you import a QuickTime file with mono or stereo tracks of audio, the
audio appears in the Audio Timeline.
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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. Multichannel audio files are also supported.
For more information about file formats supported by Motion, see Audio Formats. For
more information on using audio in Motion, see Working with Audio.
A seamless way to browse for and import music from your iTunes library is to use the
Music category in the Motion Library. For more information, see Adding iTunes and iPhoto
Files from the Library.
Note: You cannot import rights-managed AAC files, such as non-iTunes Plus tracks,
purchased from the iTunes Store.
Using Media in the Library
Motion ships with a collection of built-in media and effects that you can use in projects.
This content is available in the Library.
Categories
Subcategories
The Library sidebar consists of a two-column pane. The left column displays the categories
of media and effects. When you select a category, subcategories appear in the right
column. Selecting a subcategory displays a collection of related media or effects in the
Library stack below.
Library Categories
The Library contains the following categories of content and effects:
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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.
Image Units (Filters)
The Image Units category appears in the Motion Library if you are running Mac OS X
v10.6.8 or later. Although Motion generally supports the operating system’s Core Image
Units (filters), some image units may not work as expected in Motion.
Generators
Generators are user-customizable computer-generated objects that can be used to create
graphic elements. When you add a generator to your project, it adapts to the frame size
and frame rate of the project. Generators also have infinite duration, so they can play as
long as necessary.
Generators have all property parameters belonging to other objects. Properties specific
to each generator also appear in the Generator Inspector when a generator is selected.
You can save customized versions of generators in the Library for future use.
For more information about the generators available in Motion, see Working with
Generators.
Image Units (Generators)
The Image Units category appears in the Motion Library if you are running Mac OS X
v10.6.8 or later. Although Motion generally supports the operating system’s Core Image
Units (generators), some image units may not work as expected in Motion.
Particle Emitters
Several categories of premade particle emitters let you add effects ranging from
simulations of smoke, fire, and explosives to animated abstract textures that you can use
in different ways. All premade particle systems can be customized after you add them to
your project.
For more information about using particle systems, see Working with Particles.
Replicators
Several categories of premade replicators let you add background, transitional, or other
types of animated patterns. All premade replicators can be customized after you add
them to your project.
For more information about replicators, see Using the Replicator.
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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.
Fonts
Fonts installed on your computer appear in this category. Fonts are organized into
subcategories based on the categories of fonts defined in the Font Book application. For
more information about Font Book, see Mac Help in the Finder Help menu.
You can use font categories to preview the fonts available on your computer. You can
also drag fonts onto text objects to change the typeface they use. For more information
about using fonts with text objects, see Using the Library Font Preview.
Text Styles
Text styles are presets that can be applied to text objects, changing their style parameters.
These style parameters include Face, Outline, Glow, and Drop Shadow. Dragging a text
style onto a text object instantly applies that style to the text.
For more information on text styles, see Editing Text Style.
Shape Styles
Shape styles are presets that can be applied to shapes and paint strokes to change their
style parameters. Dragging a shape style onto a shape instantly applies that style.
For more information on shape styles, see Saving Shapes and Shape Styles.
Music and Photos
These categories allow you to browse for and import audio files from your iTunes library
and image files from your iPhoto library. The Music subcategories that appear in the
Motion Library are playlists created in iTunes. The Photos subcategories are albums created
in iPhoto. The contents of each library, album, or playlist appear in the file stack.
For more information on importing iPhoto or iTunes files, see Adding iTunes and iPhoto
Files from the Library.
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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.
Note: Dragging a media object into the Content category leaves its corresponding file
on disk in its original location. For this reason, centralize all media you plan on importing
into the Library for future use into a dedicated and predictable location on disk, to prevent
accidentally moving, renaming, or deleting those files.
Favorites and the Favorites Menu
It’s easy to customize the behaviors, filters, particle systems, gradients, and generators
used in Motion to create effects. These customized objects are saved into their
corresponding categories. The Favorites category provides a place to put objects—built-in
or custom-made—that you use frequently. You can also place frequently used media
files (such as PDF or TIFF files) into the Favorites category. Objects you place in the
Favorites category are available to every project you create in Motion.
Objects you place in the Favorites Menu folder appear in the Favorites menu, for even
faster access. When you choose an item from the Favorites menu, that item is placed into
the selected layer, positioned at the center of the Canvas. Objects you put in the Favorites
Menu are available to every project in Motion.
Objects dragged into the Favorites and Favorites Menu categories are saved into the
/Users/username/Library/Application Support/Motion/Library/Favorites/ and /Favorites
Menu/ directories, respectively.
Adding Content to the Library
You can add customized versions of generators, filters, behaviors, and gradients to
categories in the Library. Further, if you work on projects that frequently recycle the same
graphics elements, or if you have a library of graphics that you use regularly, you can add
these media files to the Favorites category. You should add custom content to the Favorites
category. Content you put into the Library is available to every project in Motion.
µ
To add Motion-generated objects to a Content category
Drag an object from the Layers list, Canvas, or Timeline to the Favorites folder in the
Library.
Important: Each category except Content, Favorites, and Favorites Menu is filtered by
the type of object it represents. For example, you can place a user-customized filter in
the Filters category, but you cannot place a filter into the Behaviors category.
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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.
When you drag objects to the Canvas that were saved with the “All in one file” drop
menu option, the objects are dropped where you release the mouse button and are
positioned according to their arrangement when originally saved to the Library. If you
use the Apply button in the preview area to add the object, the objects are added at
the center of the Canvas.
Note: When you drag a custom mask from the Library into a project, the mask retains
the position where it was saved (relative to the image or footage it is dropped on).
µ
To add a media object to the Favorites category
Drag a media object from the Layers list or Media list, or from the File Browser, into the
Favorites folder in the Library.
When you add your own content, you can create additional folders to add subcategories
that appear in the subcategory column.
To create a subcategory in a category
1 Open the Library and select a category.
2 Click the New Folder button (+) at the bottom of the Library.
3 Rename the folder to suit your needs.
This folder appears in the subcategory column when that category is selected.
µ
To remove objects or folders from a Content category
Select an object or folder in the Library stack, then do one of the following:
• Choose Edit > Delete.
• Press Command-Delete.
When Library Media Becomes Unavailable
As with any other object used in a Motion project, Library media used by a project must
be present and installed on your computer for that media to appear correctly in Motion.
If someone gives you a project file and you don’t have the same filters or fonts used in
the file, a warning appears when you open the project, listing the items that are
unavailable.
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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. When you reinstall the missing filter, the filter object replaces the
placeholder, and the effect is applied properly.
• Missing Fonts: When fonts are missing, the text objects that use those fonts default to
Helvetica as a temporary substitute. Missing international fonts substitute the default
system font for the relevant language.
Adding iTunes and iPhoto Files from the Library
You can add files from your iTunes and iPhoto libraries to a project via the Motion Library.
The iTunes library and playlists and iPhoto albums appear in two Library subcategories,
Music and Photos.
Note: Although a connected iPod appears in the File Browser as a hard disk, you can only
browse for and import iPod files that are stored as data. Music transferred to the iPod via
iTunes cannot be imported into Motion.
To add an audio file from iTunes
1 In the Library, select the Music category.
The iTunes library and playlists appear. By default, All is selected (the iTunes library).
2 Select a playlist, then select an audio file from the stack.
Note: When displayed in list view, the Music category shows information created in
iTunes, such as Name, Artist, Album, Duration, and Size of the file.
3 Do one of the following:
• In the preview area, click Apply.
• Drag the audio file to the Canvas, Layers list, or Audio Timeline.
Note: Rights-protected AAC files cannot be imported into Motion and do not appear in
the file stack. This includes non-iTunes Plus music purchased from the iTunes Store.
For more information on working with audio files, see Working with Audio.
To add a file from iPhoto
1 In the Library, select the Photos category.
The iPhoto albums appear. By default, All is selected (the iPhoto library).
2 Select an album, then select a file from the stack.
Note: When displayed in list view, the Photos category shows information created in
iPhoto, such as Name and Size of the file.
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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. Although the
File Browser can access the contents of disks on other computers on your network,
dragging remote media to your project does not copy the source file to your computer.
The media source file remains on the remote disk.
As a result, when that remote disk becomes unavailable, the corresponding item in your
project goes offline. Further, depending on the speed of your network, you may
experience performance issues when using media files on other computers.
Ideally, copy all media files used in your project onto a disk that’s physically connected
to your computer. If you must use media from a networked hard disk, ensure that the
drive is always mounted on your system and that you have a high-performance network.
This is especially true for media from removable devices, such as flash drives, DVD, and
removable hard disks that are frequently disconnected from your computer. Always
copy media files from such media to your local hard disk.
Organizing Groups and Layers in Motion
When you drag a media file from the Library or File Browser into the Canvas, Layers list,
or Timeline, or generate an image from within Motion, the resulting element is represented
as a layer. Think of layers as a series of clear overlays stacked on top of each other. These
layers combine to create the composite you see in the Canvas. Motion provides a graphical
representation of this layer hierarchy in the Layers list and in the Timeline. You can
rearrange the stacking order of layers in your composition by dragging them to a new
location in either list.
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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. In this way, you can construct
complex hierarchies of nested groups, with each nested group subordinate to the group
that contains it.
Enclosing group
Nested groups
It’s a good idea to group layers that work together as a unit. Doing so ensures that
animation and effects applied to the enclosing group affect all layers nested in that group.
By nesting related layers you want to animate inside a group, you can save time by
animating the enclosing group, instead of animating each layer.
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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.
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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.
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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).
Background Color: Use this color well to set the color appearing in the Canvas when no
other object obscures the background.
Note: To export a project with a premultiplied alpha channel, Motion always renders
against black.
Background: Use this pop-up menu to set whether the background color is rendered as
part of the alpha channel. If set to Solid, the background color creates a solid alpha
channel. If set to Transparent, the background color does not render as part of the alpha
channel. In either case, the background color is visible in the Canvas.
Selecting Layers and Groups in the Layers List
To reorganize layers and groups in a project, you must select which ones to move. This
section covers the methods to select layers in the Layers list.
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To select one layer or group
Click a layer or group in the Layers list.
Doing so deselects all other selected objects.
Note: Selecting a group does not also select the layers nested underneath it. However,
operations performed on a selected group also affect layers nested in it.
To select multiple contiguous layers or groups
Do one of the following:
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Shift-click any two layers in the Layers list.
Doing so selects both layers, and all layers in between.
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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:
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Command-click any unselected layer or group to add it to the selection.
Command-click any selected layer or group to deselect it.
To select all layers or groups in the Layers list
Do one of the following:
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Choose Edit > Select All (or press Command-A).
Click the first group or layer in the list, then Shift-click the last group or layer in the list.
To deselect all objects or groups in the Layers list
Choose Edit > Deselect All (or press Command-Shift-A).
Reorganizing in the Layers List
The order in which layers and groups appear in the Layers list helps determine the layout
of the composition. The order of layers and groups determines which objects appear in
front of other objects in the Canvas. You can change the ordering of objects in the Canvas
or in the Layers list.
Note: When using 3D groups, you can rearrange the order in 3D space to override the
hierarchy visible in the Layers list. For more information about layer order in 3D groups,
see 2D and 3D Group Interaction.
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To move a layer or group up or down in the Layers list
Drag a layer or group up or down in the Layers list.
A position indicator shows the new position the selection occupies when you release the
mouse button.
Note: You can also use the Bring and Send commands in the Object menu to move layers
up and down in the nested hierarchy in any group. This is especially useful when working
with selected objects in the Canvas. For more information, see Arrangement Commands
in the Object Menu.
To organize the objects in a project into multiple groups, you can create new, empty
groups.
To create a new, empty group
Do one of the following:
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Click the Add button (+) at the bottom of the Layers list.
Choose Object > New Group (or press Command-Shift-N).
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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.
A position indicator appears to show where the layer is placed when you release the
mouse button.
• Choose Edit > Cut (or press Command-X), then select the group to paste into, and
choose Edit > Paste (or press Command-V).
You can also copy a layer from one group to another.
To copy a layer from one group to another
Do one of the following:
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Option-drag selected layers from one group to another.
Select layers, choose Edit > Copy (or press Command-C), then select the group to paste
into, and choose Edit > Paste (or press Command-V).
Nesting Groups Inside Other Groups
In addition to nesting layers inside groups, you can also nest groups inside other groups.
You might do this if you’re creating a layer hierarchy to control the relationship of one
group of layers to another, or if you’re grouping layers to which you want to apply a
single set of behaviors and filters.
Nesting a group works the same way as nesting a layer.
To move a group inside another group
1 Select one or more groups.
2 Do one of the following:
• Drag the groups onto another group.
• Drag the groups to a position underneath another group.
• Choose Edit > Cut (or press Command-X) to cut the groups, then select the group
where you want to paste, and choose Edit > Paste (or press Command-V).
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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).
A new group is created and is numbered incrementally based on the number of groups
you’ve created so far. The layers or groups you selected are nested in the group.
Groups of nested layers or groups can also be ungrouped, which deletes the containing
group and moves objects and layers in it up the group hierarchy.
To ungroup nested layers
1 Select the group containing the nested layers or groups to ungroup.
2 Choose Object > Ungroup (or press Command-Option-G).
Note: You cannot ungroup groups that are at the root (project level) of the Layers list
hierarchy.
Showing and Hiding Groups and Layers
Layers and groups appearing in the Layers list can be hidden to make them invisible in
the Canvas without removing them from your composition. For example, if you place a
large object into your project and it’s in the way of objects you want to move or rotate
in the Canvas, you can hide the offending object. You can also hide objects you’re not
sure you want to keep, while preserving their placement in case you want to use them
later.
If you hide a group, you also hide all layers and groups nested in it. Hidden layers and
groups are not rendered when your project is exported.
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To show or hide selected layers
Do one of the following:
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Click the checkbox to the left of an object or group in the Layers list or Timeline.
Activation checkboxes
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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.
You can “solo” a layer or group to hide all other layers in the project. This technique can
be useful to isolate a single object in the Canvas to animate or manipulate without
interfering with other objects in your composition.
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To solo a layer
Select layers or groups to solo.
Choose Object > Solo (or press Control-S).
Note: You can also Control-click an object in the Layers list, then choose Solo from the
shortcut menu.
All other layers or groups are deactivated, and only the soloed object is visible in the
Canvas. When the selected item is soloed, the solo menu item displays a checkmark.
Fixing the Size of a Group
By default, the size of a group is determined by the layers in that group. Because animated
objects often grow in size, the active height and width of a group (its resolution) can
become large. You can constrain the resolution of a group to a specific width and height
in the Group pane of the Inspector.
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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.
If a project contains animated objects that move or expand beyond the edges of the
Canvas and you don’t activate the Fixed Resolution checkbox, your computer processing
time can increase.
Note: The Group pane of the Inspector (which contains the Fixed Resolution parameter)
is only accessible when a group is selected in the project.
When the Fixed Resolution checkbox is selected, objects in the group but outside the
Canvas are cropped to the size of the group defined in the parameter.
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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.
To fix the resolution of a group
1 In the Layers list (or the Timeline), select the group.
2 In the Inspector, click the Group pane.
3 Turn on the Fixed Resolution checkbox.
By default, the group’s resolution is set to the project size. An indicator appears to the
right of Fixed Resolution, informing you that the group is rasterized. For more information
on rasterization, see About Rasterization.
4 To define a resolution other than that of the project, adjust the Fixed Width and Fixed
Height sliders.
Note: When you select a layer in a fixed-resolution group, the bounding box around the
layer appears at its original size, unaffected by the containing group’s resolution.
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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. For more information about
publishing parameters, see Publishing Parameters in Templates.
To lock layers or groups
Do one of the following:
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Click the layer’s lock icon in the Layers list.
Lock icon
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White outline indicates locked layer
Select layers or groups, then choose Object > Lock (or press Control-L).
The locked layer’s bounding box in the Canvas turns white to indicate it is locked.
Collapsing and Uncollapsing Group Hierarchies
Groups and layers in the Layers list appear in a hierarchy that shows which layers are
nested inside which groups. Nested layers and groups appear underneath and indented
to the right of the group they’re nested in.
To make the Layers list easier to manage, you can collapse all layers that appear nested
in a single group using that group’s disclosure triangle. Collapsed groups appear as a
single row in the list, and can be moved or nested like any other layer. Each group’s
thumbnail displays a preview of its composite, making it easy to see what’s nested inside.
To open or collapse a single group
Do one of the following:
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Click the disclosure triangle to the left of that group’s name and icon.
Press the Up Arrow and Down Arrow keys to navigate up and down the Layers list, then
press the Right Arrow key to open a group, or the Left Arrow key to collapse a group.
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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.
To rename a group or layer
1 In the Layers list, double-click the name of a group or layer.
2 When the name is highlighted, enter a new name.
3 When finished, press Return to accept the name.
The new name is also accepted when you click another layer or group.
Searching for Groups and Layers
If it’s difficult to find a single group or layer in a large project, you can use the Search field
at the bottom of the Layers, Media, and Audio lists. It is similar to the Search field in the
File Browser, and allows you to search for all layers or groups with a name containing the
search term you enter.
To find a group or layer by name in the Layers list
1 At the bottom of the Layers list, Media list, or Audio list, click the Search button.
The Search field appears.
Search field
Click Search button to activate the search field.
2 Enter a search term in the Search field.
As soon as you begin typing, all groups and layers with names that don’t contain the
search term are hidden from view, leaving only a list of groups and layers that match.
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To clear the search results
Click the Clear button at the far right of the Search field to restore the full contents of the
Layers list, Media list, or Audio list.
Click to clear search field.
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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.
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Column
Description
Preview
Displays a thumbnail of the media object.
Name
Lists the filename of the source media on disk where the object is
linked. If you change the name of corresponding linked objects in
the Layers list, this name doesn’t change.
Kind
Lists the type of file, whether it’s a still image, QuickTime movie,
image sequence, or audio file.
In Use
Indicates that the media is in use in the project.
Duration
Displays the total duration of the object, in frames or timecode,
depending on what is displayed in the Timeline.
Frame Size
Displays the frame size of the object, in pixels.
Format
For QuickTime movies, displays the codec used. For still images,
displays the method of compression that’s applied based on the
file type.
Depth
Specifies the color depth of the image.
Vid Rate
Displays the video frame rate of the object, in frames per second.
Audio Rate
For audio files and QuickTime movies, displays the sample rate of
the audio.
Audio Bit Depth
For audio files and QuickTime movies, specifies the bit depth of the
audio.
File Size
Shows the size of the source media file on disk.
File Created
Shows the file creation date of the source media file on disk.
File Modified
Shows the file modification date of the source media file on disk.
This is a useful parameter to use for file management.
To move a column to the right or left in the Media list
Drag a column header to the right or left to move it.
To increase or decrease the size of each item’s thumbnail in the Media list
Do one of the following:
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Use the scale control at the bottom of the Media list.
Drag the separator between the rows of items.
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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.
Most templates, especially those you create yourself, are intended to simplify the process
of creating titles and graphics for recurring projects. Examples include titles and lower
thirds for news and interview programs, graphics for magazine shows, and any repeating
program that requires graphics with a consistent look that must be updated from show
to show. Well-designed templates allow you to exchange key objects and edit the text
to update them for the next show in the series.
Changes you make to projects created from templates have no effect on the original
templates.
Exchanging Media
The easiest way to customize a template-based project is to exchange the media used
in the template with your own media, from the File Browser or the Library. When you
exchange media, the new media item appears in your project with the same parameter
values used by the previous object. In addition, filters, masks, behaviors, or keyframed
parameters applied to the original media remain applied to the exchanged media.
For more information about exchanging objects, see Exchanging Media in a Project.
Customizing Text Objects
Text objects are easily updated using the Text tool. Editing a text object does nothing to
change the format, style, or layout of the text. Further, simple edits made to text objects
have no effect on filters, masks, behaviors, or keyframed parameters applied to that object.
For more information on editing text objects, see Adding Text.
Modifying Behaviors and Keyframes
Objects in template-based projects are animated using a combination of behaviors and
keyframed parameters. These can be edited to customize the motion of the objects. For
more information on modifying behaviors, see Working with Behaviors. For more
information on modifying keyframes, see Modifying Keyframes.
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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.
Drop Zones
Drop zones let you replace footage in a Motion template by dragging clips onto the
Canvas. A drop zone layer appears as a rectangle with a downward arrow in its center.
The drop zone’s layer name appears in the center of the drop zone. Any media item
(image or footage) dragged into the region defined by the drop zone object replaces the
drop zone placeholder graphic. When you drag media over the drop zone, a highlight
appears around the drop zone area.
Blank drop zone
QuickTime movie being
dragged onto drop zone
Note: If there are multiple overlapping drop zones in the Canvas, the topmost one has
priority when you drag an item over the zone. You can force all drop zones to appear by
using the expose feature. For more information, see Exposing Drop Zones.
Adding a drop zone to a Final Cut Pro X template in Motion enables Final Cut Pro users
to easily assign media to an editing project. For more information about creating templates
for use in Final Cut Pro, see Creating Templates for Final Cut Pro X.
Creating Drop Zones
You create drop zones in either of two ways: by adding an empty drop zone object or
by converting an existing layer into a drop zone. Any still image or video clip can be
converted into a drop zone via the Image Inspector.
To add an empty drop zone
1 Choose Object > New Drop Zone or press Command-Shift-D.
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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.
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To scale a drop zone
Select the drop zone object, then resize the drop zone in the Canvas using the
Select/Transform tool.
To convert an image layer to a drop zone
1 Add a video clip or still image to your project.
2 Position and scale the image or clip where you want the drop zone to appear.
3 Open the Image Inspector and click the Drop Zone checkbox.
The drop zone parameters appear.
4 To replace the original image with a drop zone graphic, click the Clear button.
An active drop zone replaces the original image. For more information about using
remaining Drop Zone parameters, see Drop Zone Parameters.
Modifying Drop Zone Images
After you add a source image to the drop zone, you can pan or scale the image within
the boundary of the drop zone. You can add a solid color to the drop zone to fill empty
areas that are the byproduct of panning or resizing the image.
To add an image to a drop zone
Do one of the following:
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Drag an image from the File Browser or Library to the Drop Zone in the Layers list. When
the pointer changes to a curved arrow, release the mouse button.
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Drag an image from the File Browser, Library, or Media list (in the Project pane) to the
Drop Zone in the Canvas. When the pointer changes to a curved arrow and the drop zone
is highlighted in yellow in the Canvas, release the mouse button.
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Drag an image from the Media list to the Source Media well in the Image Inspector.
In the Image Inspector, click To and select a media item in the project from the pop-up
menu.
To scale a drop zone image in the Canvas
1 Select the drop zone.
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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.
2 In the Image Inspector, drag the Scale slider. To adjust the horizontal or vertical scale
independently, click the Scale disclosure triangle to reveal the X and Y subparameters.
To pan a drop zone image in the Canvas
1 Select the drop zone.
2 In the toolbar, select the Adjust Item tool.
The drop zone bounding box appears as a dotted line.
3 The Pan tool appears when the pointer is over the drop zone image. Drag within the
drop zone to pan the image.
The image’s bounding box appears as a solid line. The dotted line represents the edges
of the drop zone. Portions of the image that extend beyond the edges of the drop zone
appear semitransparent.
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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.
Drop Zone Parameters
You can add any media object to any drop zone, but the object might not have the same
dimensions as the drop zone. Motion provides controls to help ensure the image placed
in the drop zone is handled as you want, scaling, stretching, and positioning the object
correctly.
Further, there are special types of drop zones for creating Final Cut Pro X templates, such
as transitions, effects, or titles. When creating such projects from scratch, you can convert
a general-purpose drop zone into one of these types. Then, when the template is opened
in Final Cut Pro, it only accepts objects applicable for that type of template.
The Image Inspector contains the following drop zone controls:
Drop Zone: When an image is selected, select this checkbox in the Image Inspector to
convert an image layer into a drop zone.
Note: Drop zones in Final Cut Pro templates do not have a Drop Zone checkbox.
Source Media: Use this image well to assign an image to the drop zone. Drag a media
item from the Layers list, Media list, File Browser, or Library.
To: Use this pop-up menu an alternative method of assigning an image to the drop zone.
The menu contains a list of media items in your project. Select an item to assign it to the
drop zone.
Pan: Pans the image within the drop zone. Adjust the X value slider to move the image
horizontally and the Y value slider to move the image vertically.
Scale: Scales the image in the drop zone. Use the Scale slider to resize the image uniformly.
To resize the image horizontally or vertically, click the Scale disclosure triangle and adjust
the X or Y parameter.
Fill Opaque: When the drop zone is scaled down or panned, fills the drop zone
background with the color set in the Fill Color well. If the Fill Opaque checkbox is not
selected, the empty drop zone area is transparent.
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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.
Controlling Drop Zones
When constructing your template, you can disable drop zones so you don’t accidentally
drop a clip. Later, when using the template, you can turn drop zones back on.
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To turn drop zones on and off
Choose View > Use Drop Zones
A checkmark appears next to the menu item when drop zones are enabled (which means
they accept objects dragged to them). When no checkmark appears next to the menu
item, drop zones are disabled (which means they ignore objects dragged to them).
Exposing Drop Zones
Use the expose feature in Motion to reveal obscured drop zones in the Canvas. The expose
command shows an exploded view of valid drop zones in the Canvas.
To expose all drop zones in a project
1 Use the Library or File Browser to locate an item to import into the project.
2 While holding down the Command key, drag the item onto the Canvas.
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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 files contain everything that ordinary projects do, including media
layers, text objects, shapes, generators, behaviors, and filters, in any combination.
You can create custom templates for commonly used shots that you regularly create. For
example, if you make titles for a news program, you can create templates for the opening
title, interstitial graphics, bumpers, and other repetitious shots.
Templates are standard Motion projects that are saved in a special way.
To save a Motion project as a template
1 Choose File > Publish Template.
A save dialog appears.
2 Enter a name for the template and choose a category from the Category pop-up menu.
The template is organized in the Project Browser under the category you assign. Create
a custom category by choosing New Category from the menu.
3 Choose New Theme from the Theme pop-up menu, enter a descriptive name in the New
Theme dialog, then click Create.
4 If you want the template project to retain media in the Media list that isn’t present in the
composition, select “Include unused media.”
5 If you want a preview of the template to appear in the Project Browser, select Save Preview
Movie.
Note: If you want to add the template to a Final Cut Pro project, select the “Publish as
Final Cut Generator” checkbox. For more information, see Creating Templates for
Final Cut Pro X.
6 Click Publish.
The template is saved in the /Users/username/Movies/Motion Templates/Compositions
folder on your computer.
Note: If you selected the “Publish as Final Cut Generator” checkbox, the template is saved
in the /Users/username/Movies/Motion Templates/Generators. For more information, see
Creating Templates for Final Cut Pro X.
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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. Descriptive
layer names are especially important if others use the template.
• Use snapshots to create alternate versions of a template for each resolution you need: If
you regularly create projects for a variety of output formats, you can build alternate
versions of a template in 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 in
Final Cut Pro, the editing application chooses the version that matches its current
display aspect ratio. These alternate display versions of a single template are called
snapshots. Snapshots eliminate the need to create multiple versions of the same
template for different display ratios. For more information about snapshots, see Adding
Multiple Display Aspect Ratios to a Template .
• Place all media files used in a template in a central folder: To avoid problems with offline
or missing media, move all media files for the template into a central folder on your
computer before you begin the working on the project. Although customized templates
are saved in the /Users/username/Movies folder on your computer, media added to
the template remains in its original location on disk. A central location for all media
resources ensures that files are not lost. Alternatively, you can use the File > Save As
command, and use the Collect Media option. For more information, see Collecting
Media.
Organizing Templates in the Project Browser
You can organize and access custom templates in the Project Browser. All templates are
organized into categories. You can add, delete, and rename categories in the Project
Browser.
To add a category in the Project Browser
1 Choose File > New From Project Browser
The Project Browser appears.
2 Select a template type (Compositions, Final Cut Effects, Final Cut Generators, Final Cut
Transitions, Final Cut Titles) from the sidebar (on the left).
3 Click the Add button (+) at the bottom of the sidebar.
4 Enter a name for the category in the dialog that appears.
5 Click Create.
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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. Template files in that category’s directory are also placed in the Trash.
To delete individual templates from the Project Browser
1 Choose File > New From Project Browser.
The Project Browser appears.
2 Select a category from the sidebar.
3 In the project stack, select the template to delete.
4 Press Delete.
An alert dialog prompts you to confirm the deletion.
5 Click the Delete button.
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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.
Motion graphics artists use various compositing techniques to create animated visual
effects, including changing group and layer order, transforming the physical properties
of layers (such as scale), adjusting layer opacity and blend mode settings, applying filters
to layers, and creating text and shapes. Motion graphics projects often combine layout
and design techniques with special effects such as keying, masking, color correction, and
creation of particle systems.
This chapter covers the following:
• Compositing Workflow (p. 257)
• Group and Layer Order (p. 259)
• Transforming Layers (p. 261)
• 2D Transform Tools (p. 265)
• Adjusting Layer Properties in the Inspector (p. 282)
• Making Clone Layers (p. 287)
• Editing Opacity and Blending Parameters (p. 288)
• Drop Shadows (p. 311)
• Retiming (p. 313)
• Expose Commands (p. 317)
Compositing Workflow
After you import the layers you need for your project, the first step in the compositing
workflow is to arrange the layers in the Canvas to rough out the general design of your
piece. Before you animate anything, you should decide on a layout, taking into account
the size, placement, and rotation of the layers in your composition.
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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.
Additional controls in the HUD let you change each selected layer’s opacity, blend mode,
and drop shadow settings.
The onscreen controls and the HUD controls correspond to parameters that appear in
the Properties Inspector. Adjustments made in the Canvas are simultaneously updated
in the Inspector and HUD, and vice versa. For example, if you’re using the Select/Transform
tool and you change a layer’s scale by dragging its corner handles in the Canvas, the
layer’s Scale parameter is updated in the Properties Inspector.
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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. Blend modes provide further control over the appearance of overlapping layers,
accentuating or stylizing the colors of the topmost layers based on the colors of underlying
layers.
After you create an initial layout, you can animate the layers you’ve added to set your
project in Motion. For more information about animating layers and their properties, see
Keyframing in Motion.
Group and Layer Order
In the Motion interface, every project is visually represented by a Project object at the
top of the Layers list. Beneath the Project object are the groups, image layers, and effects
objects that make up your project. Except for cameras, lights, and rigs, all layers and
objects in the Layers list must live inside a group.
In a purely 2D project, the order in which layers and groups appear in the Layers list
(known as the layer order) determines which image layers appear in front of others in the
Canvas. Before you use the tools described in this chapter, you should arrange the layers
and groups in your project so they appear in the proper order. For information about
layer order, see Reorganizing in the Layers List.
Objects and Layers
In Motion, any element that appears stacked in the Layers list (and Timeline) can be
referred to as an object. Objects encompass the entire range of images, effects, video
clips, audio clips, lights, cameras, and other items that combine to form a finished
composite. A layer is a special class of object defined as any image-based element—a
movie clip, a still image, a shape, text, a particle system, a replicator, and so on—that
is visible in the Canvas. Therefore, a rotating a triangle shape is a layer, but the behavior
object that animates it is not; a sepia-tone video clip is a layer, but the Sepia filter that
makes it so warmly old-timey is not. In the Motion documentation, the term object is
often used to describe the superset of all manipulable elements that act upon and form
a composition. Layer, however, always refers to the image-based elements acted upon.
Arrangement Commands in the Object Menu
As an alternative to rearranging layer order in the Layers list, you can change layer order
using commands in the Object menu. The Object menu commands are useful when you
want to move a layer to the front of your composition while you’re working in the Canvas.
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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.
After Bring to Front command
Before
• Send to Back: Places the selected layer behind all other layers in the same group by
moving the layer to the bottom of the nested group in the Layers list and Canvas.
After Send to Back command
Before
• Bring Forward: Moves the selected layer up one level in the hierarchy of layers nested
in the same group in the Layers list and Canvas, moving it closer to the front in the
Canvas.
• Send Backward: Moves the selected layer down one level in the hierarchy of layers
nested in that group in the Layers list and Canvas, moving it closer to the back in the
Canvas.
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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.
Nonconsecutive layers selected
Bring Forward command applied
When you apply the Bring to Front or Send to Back arrangement command on
noncontiguous selected layers, the layers move up or down the object hierarchy together,
and any space between the layers is removed.
Transforming Layers
Transforms are operations that you perform on layers—such as moving, resizing, or
rotating. Layer transforms can be performed using onscreen controls (transform handles),
or by changing the layer’s parameters in the Properties Inspector. In general, the controls
in the Canvas give you a more hands-on method of working, while the parameter controls
in the Properties Inspector are better suited for subtle adjustments requiring greater
numerical precision. For more information about each transform’s corresponding
parameter and its numerical values, see Adjusting Layer Properties in the Inspector.
Important: Applying a mask or some filters to a group can cause rasterization. Rasterization
converts a group into a bitmap image, which affects blend modes and interactions with
other layers in a project. For more information on rasterization, see About Rasterization.
Selecting Layers to Transform
Before you can transform layers and groups, you must make a selection in the Canvas,
Layers list, or Timeline. Selecting a group or layer in one place also selects it in the others.
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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.
To add layers to a selection, hold down the Shift key and drag a selection box over layers
to add to the selection.
To deselect one of multiple selected layers in the Canvas
Do one of the following:
µ
Shift-click a layer to deselect.
All other selected layers remain selected.
µ
Holding down the Shift or Command key, drag a selection box over the layers to deselect.
To select all layers in the Canvas
Do one of the following:
µ
µ
Choose Edit > Select All.
Press Command-A.
To deselect all layers in the Canvas
Do one of the following:
µ
µ
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Choose Edit > Deselect All.
Press Command-Shift-A.
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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.
For more information on how to select objects and groups in the Layers list, see Selecting
Layers and Groups in the Layers List.
Rules for Transforming Selected Layers and Groups
The way you transform selected layers depends on how many layers are selected.
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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. Each transform occurs around each layer’s own anchor point, so the
effect is the same as if you applied the transform to each layer’s handles, one at a time.
After scaling
Before
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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. Selecting a 2D transform tool in the
toolbar activates a corresponding onscreen control in the Canvas; you modify layers by
manipulating the active onscreen control.
There are eight 2D transform tools, available in a pop-up menu on the left side of the
toolbar:
• Select/Transform: Scales, rotates, and repositions selected layers.
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• 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.
• Adjust Item: Moves onscreen controls such as gradients, center points of filters, emitter
attributes, and so on.
Note: Some of the tools are activated when specific layers are selected. For example, the
Edit Points tool is selected after you create a shape or mask layer, so you can immediately
adjust the Bezier or B-Spline control points.
To switch among tools
Do one of the following:
µ
Click the Select/Transform tool in the toolbar, then, while holding down the mouse button,
choose a tool from the pop-up menu.
µ
With a layer in the Canvas selected, press Tab. Pressing Tab repeatedly cycles through
the tools in order.
Note: When pressing Tab, the 3D Transform tool is activated between the 2D
Select/Transform tool and the Anchor Point tool. For more information about 3D transform
tools, see 3D Transform Tools.
µ
Control-click any layer in the Canvas, then choose a tool from the shortcut menu.
The options in the shortcut menu vary depending on the type of layer selected. For
example, a shape contains shape-specific options such as Stroke, Edit Gradient, and Edit
Points. Those options do not apply to an image.
Note: Press Shift-Tab to cycle through the tools in reverse.
Moving Layers in the Canvas
The simplest thing you can do to start arranging the layers in your project is to move
them around. Except for the Drop Shadow tool, all transform tools let you reposition
layers, so this is the one operation you can perform regardless of the selected tool.
The easiest way to reposition a layer is to drag it in the Canvas. If you want to make more
precise adjustments to a layer’s position, you can also change the numerical values of a
layer’s X and Y Position parameters in the Properties Inspector. For more information on
layer properties, see Parameters in the Properties Inspector.
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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.
You might need to move a layer past the edge of the frame when you plan on animating
a layer flying onscreen. Before animating it, you need to move it to a position offscreen
to achieve this effect.
Note: To make a layer that is partially or totally outside the Canvas visible, choose Show
Full View Area from the View pop-up menu (above the right side of the Canvas).
To move layers in the Canvas
1 Select layers.
2 Do one of the following:
• Drag a layer to another location in the Canvas. If more than one layer is selected,
dragging one layer moves them all.
• Holding down the Command key, press the Right Arrow, Left Arrow, Up Arrow, or Down
Arrow key to nudge the selected layers one pixel at a time.
• Holding down the Command and Shift keys, press the Right Arrow, Left Arrow, Up
Arrow, or Down Arrow key to nudge the selected layers ten pixels at a time.
Tip: When repositioning very small layers, zoom into the Canvas to get a better view. For
information on zooming in the Canvas, see Canvas Zoom Level.
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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. A grid and rulers can also be enabled to provide a useful reference, and
Dynamic Guides can be turned on to help you align layers with more precision.
Furthermore, snapping can be turned on and off to help you position layers relative to
the center and edges of the Canvas, with or without the other guides enabled.
Note: Press Command while you manipulate a layer to temporarily disable snapping,
allowing the layer to move freely.
For more information about enabling various Canvas options to help you lay out your
composition, see Canvas Rulers.
To duplicate a layer
Do one of the following:
µ
µ
Select the layer to duplicate, then Option-drag the layer.
Control-click the layer, then choose Duplicate from the shortcut menu.
A duplicate is created in the Canvas.
Using Object Alignment Commands
The Alignment submenu in the Object menu contains commands that let you reposition
any number of simultaneously selected layers to align with one another in various ways.
These commands make it easy to organize a jumble of layers into an even layout.
After using alignment commands
Before
In each operation, the left, right, top, and bottom of the selected layers are defined by
the bounding box that surrounds each layer. The position of the anchor point is ignored.
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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.
• Align Bottom Edges: Layers are moved vertically so their bottoms line up with the
bottommost layer in the selection.
• Align Far Edges: Layers are moved in Z space so their far edges line up with the furthest
layer in the selection.
• Align Near Edges: Layers are moved in Z space so their near edges line up with the
closest layer in the selection.
• Align Horizontal Centers: Layers are moved horizontally so their centers line up along
the center point between the leftmost and rightmost layers in the selection.
• Align Vertical Centers: Layers are moved vertically so their centers line up along the
center point between the topmost and bottommost layers in the selection.
• Align Depth Centers: Layers are moved in Z space so their centers line up along the
center point between the farthest and nearest layers in the selection.
• Distribute Lefts: Layers are moved horizontally so the left sides of all layers are evenly
distributed, from right to left, between the leftmost and rightmost layers in the selection.
• Distribute Rights: Layers are moved horizontally so the right sides of all layers are evenly
distributed, from right to left, between the leftmost and rightmost layers in the selection.
• Distribute Tops: Layers are moved vertically so the tops of all layers are evenly distributed,
from top to bottom, between the topmost and bottommost layers in the selection.
• Distribute Bottoms: Layers are moved vertically so the bottoms of all layers are evenly
distributed, from top to bottom, between the topmost and bottommost layers in the
selection.
• Distribute Far: Layers are moved in Z space so the far edges of all layers are evenly
distributed along the Z axis, from closest to furthest, between the closest and furthest
layers in the selection.
• Distribute Near: Layers are moved in Z space so the near edges of all layers are evenly
distributed along the Z axis, from closest to furthest, between the closest and furthest
layers in the selection.
• Distribute Horizontal Centers: Layers are moved horizontally so the centers of all layers
are evenly distributed, from left to right, between the leftmost and rightmost layers in
the selection.
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• 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.
Using the Select/Transform Tool
The default tool is the Select/Transform tool, which activates onscreen controls that enable
you to adjust a layer’s scale, position, and rotation.
Scale handle
Anchor point
Rotation handle
Bounding box
Scaling
When you select a layer, eight scale handles appear around the edge of the layer’s
bounding box. Drag the handles to resize the layer. By default, the width and height of
a layer are not locked together when you adjust scale handles. This means that the aspect
ratio of a layer can be changed. (The aspect ratio of a layer is the ratio of its width to its
height.) To preserve a layer’s aspect ratio, press Shift while dragging a scale handle.
Changes made to the scale of a layer are applied to the Scale parameter in the Properties
Inspector.
Note: The onscreen Select/Transform controls for Motion-created shapes include a
roundness handle in the upper-left corner of the bounding box; this control is not present
in the Select/Transform controls for other layers. For more information, see Editing Shapes.
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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. By default,
you can resize the width and height independently, by any amount.
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• 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.
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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. For animation purposes, Motion keeps track of the number of
times you’ve rotated the layer and stores this value in that layer’s Rotation parameter in
the Properties Inspector.
To rotate a layer in the Canvas
1 Click to select the layer in the Canvas.
Note: The Select/Transform tool is the default mode when Motion opens. If the
Select/Transform tool is not enabled, choose it from the 2D transform tools pop-up menu
in the toolbar.
2 Do one of the following:
• Drag the rotation handle to rotate the layer.
• Press Shift while you drag the rotation handle to constrain the angle of the selected
layer to 45-degree increments.
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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.
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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.
Object rotated
around center point
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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.
To change the anchor point of a layer in the Canvas
1 Choose the Anchor Point tool from the 2D tools pop-up menu in the toolbar.
In the Canvas, the layer’s anchor point appears as a round target surrounded with three
colored arrows representing the X, Y, and Z coordinate axes. For more information on
coordinate axes, see 3D Transform Onscreen Controls.
2 Do one of the following:
• Drag the white circle to move the anchor point vertically or horizontally.
• Drag an arrow to move the anchor point along the corresponding axis.
As you drag the anchor point, a line stretches from the default position of the anchor
point to its new position. Additionally, the status bar shows you the anchor point’s new
coordinates and the delta (amount of change) between the anchor point’s new and
old positions.
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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.
Default drop shadow (before adjusting
with the Drop Shadow tool)
After adjusting blur, angle, and distance
To adjust the drop shadow of a layer in the Canvas
1 Choose the Drop Shadow tool from the 2D tools pop-up menu in the toolbar.
2 In the Canvas, drag a corner handle to adjust the blur of the drop shadow.
Drag in the shadow’s bounding box to adjust the distance and angle of the drop shadow.
For more information on working with drop shadows, see Drop Shadows.
Using the Distort Tool
Using the Distort tool you can reposition a layer’s corner points independently, and slant
or shear its midsection points horizontally or vertically.
To distort a layer in the Canvas
1 Choose the Distort tool from the 2D tools pop-up menu in the toolbar.
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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. For more information, see Option 2:
Corner-Pin the Object Before Tracking.
To shear a layer in the Canvas
1 Choose the Distort tool from the 2D tools pop-up menu in the toolbar.
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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.
Using the Crop Tool
The Crop tool activates onscreen cropping handles that you can drag to resize the borders
of a layer.
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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.
Cropping in the Inspector Versus Cropping in the Media List
When you crop an imported image using the Crop tool (which yields the same result
as using the Crop controls in the layer’s Properties Inspector), only the instance of that
file is cropped. The source image in the Media list is not cropped. To crop the source
image, you must select the layer in the Media list, then use the Crop tools in the Media
Inspector. For more information, see Media Inspector.
Note: If you must isolate a more irregularly shaped layer, or you want to create a border
of a specific shape, see Using Shapes, Masks, and Paint Strokes.
To crop a layer in the Canvas
1 Choose the Crop tool from the 2D tools pop-up menu in the toolbar.
2 In the Canvas, drag any of the eight handles around the edge of the layer to crop the
sides:
• Drag the top, left, right, or bottom handle to only crop one edge.
• Drag a four corner handle to crop two adjacent edges simultaneously.
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• 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.
The crop area moves, allowing you to adjust the crop to a new location without changing
its size or shape.
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To move the image while keeping the crop area in place
Press Command while you drag inside the crop area.
The crop area remains static, but the image underneath it moves, allowing you to change
the visible area of the layer.
Using the Edit Points Tool
You can modify a shape or mask in the Canvas using the Edit Points tool.
To modify a shape’s control points in the Canvas
1 After you create the shape or mask, choose the Edit Points tool from the 2D tools pop-up
menu in the toolbar.
Note: You can also double-click the shape, or Control-click the layer, then choose Edit
Points from the shortcut menu.
The layer’s control points become active.
2 In the Canvas, drag the points to modify the shape of the layer.
For more information on working with shapes and masks, see Using Shapes, Masks, and
Paint Strokes.
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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. For example, you can use the Adjust Item tool
to adjust the center point of a blur filter, the shape of a particle emitter, or the settings
of a gradient.
Adjusting Layer Properties in the Inspector
Manipulating an onscreen transform handle also changes the corresponding parameter
in the Properties Inspector. If you want to transform a layer more precisely than the
onscreen controls allow, you can change that parameter’s value in the Properties Inspector.
When you select a single layer and open the Properties Inspector, the layer’s parameters
are displayed. Making changes to the values in the Properties Inspector affects the selected
layer. If more than one layer is selected in the Canvas, Layers list, or Timeline, the parameter
values displayed in the Properties Inspector become inaccessible. However, you can still
adjust the onscreen controls. Manipulating an onscreen transform handle affects every
selected layer equally.
To modify parameter values in the Properties Inspector
Do one of the following:
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Select a parameter value field, enter a new number, then press Return.
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Drag left on the parameter value to decrease, or right to increase the value.
If the parameter has a graphical control, such as a slider or dial, adjust the control.
To reset a parameter to its default state, click its reset button, or choose Reset Parameter
from the parameter’s Animation menu.
For more information on how to use the parameter controls, see User Interface Controls.
Parameters in the Properties Inspector
The Properties pane of the Inspector displays the following parameters for most layers
and groups:
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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. Moving a layer closer adds
to the Z value, while moving further away subtracts from the Z value.
+240 pixels
Canvas center point
(0,0)
-360 pixels
+360 pixels
-240 pixels
Each layer’s position is centered on its anchor point. Offsetting the anchor point also
offsets the position of the layer relative to the X, Y, and Z position values you have set.
Rotation: A dial that controls a one-dimensional value representing the number of degrees
of rotation around the Z axis. A positive value rotates the layer counterclockwise. A
negative value rotates the layer clockwise.
Rotating a layer beyond 360 degrees results in multiple rotations when the Rotation
parameter is animated.
Click the disclosure triangle next to the Rotation parameter to reveal dials that adjust
rotation around all three axes (X, Y, and Z), as well as the Animate pop-up menu.
• Animate: Allows you to set the interpolation for animated 3D rotation channels to one
of two options:
• Use Rotation: The default interpolation method. Layer rotates from its start angle to
their final angle. Depending on the animation, the layer might twist before reaching
its final orientation (the last keyframed value). For example, if the X, Y, and Z Angle
parameters are animated from 0 degrees to 180 degrees in a project, the layer rotates
on all axes before reaching its final orientation.
• Use Orientation: This alternate interpolation method provides smoother interpolation
but does not allow multiple revolutions. Use Orientation interpolates between the
layer’s start orientation (first keyframe) to its end orientation (second keyframe).
Note: The Rotation parameter must be keyframed for the Animate parameter options
to have any effect.
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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. A layer with no shear has
X and Y shear values of 0. Positive values shear in one direction, while negative values
shear in the other.
Anchor Point: Value sliders that define the X and Y position of the anchor point relative
to the center of the layer. Coordinates of 0, 0 center the anchor point in the bounding
box defining the outer edge of the layer. Click the disclosure triangle to expose an
additional value slider defining the Z position.
Blending Parameters
Opacity: A slider that sets the transparency of the layer. For more information, see Editing
Opacity and Blending Parameters.
Blend Mode: A pop-up menu that sets the Blend Mode of the layer. For more information,
see Editing Opacity and Blending Parameters.
Preserve Opacity: When this checkbox is selected, the layer appears only where another
layer is visible behind it in the composite. The front layer uses the opacity value of the
layer behind it. For more information, see Preserve Opacity Option.
Preserve Opacity disabled
Preserve Opacity enabled
Casts Reflections: A pop-up menu that determines whether a layer casts a reflection.
Choose from three options:
Note: Reflections are only visible when layers are in a 3D group. For more information
on 3D groups, see 3D Group Properties.
• Yes: The layer is seen reflected in nearby reflective layers.
• No: The layer is ignored by reflective surfaces.
• Reflection Only: The layer becomes invisible, but will appear in reflective surfaces around
it.
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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. This
parameter has no effect if Shading is set to Off. Click the disclosure triangle to reveal an
additional Shininess parameter.
• Shininess: A slider that sets how strong a layer’s highlights appear. Higher values create
a glossier appearance.
For more information on using lights, see Lighting.
Shadows Parameters
Cast Shadows: A checkbox that sets whether a shadow is cast when a layer lies between
a light source and another layer.
Note: This parameter does not affect drop shadows.
Receive Shadows: Controls whether neighboring layers’ shadows affect the current layer.
When this checkbox is deselected, light affects the layer as if the shadow-casting layer
did not exist.
Shadows Only: A checkbox that, when selected, specifies that a layer blocks light and
casts a shadow, while the layer itself does not appear in the scene.
Note: For more information on using shadows, see Shadows.
Reflection Parameters
Reflectivity: A slider that controls the shininess of the layer’s surface. When set to 0%,
there is no reflectivity. When set to 100%, the layer is totally reflective, like a mirror.
Blur Amount: A slider that controls how blurry the reflection appears, creating the
appearance of soft focus due to the surface quality of the reflecting layer.
Falloff: A checkbox that controls whether the reflection fades with distance from the
layer, producing a more realistic result. Click the disclosure triangle to show additional
controls that adjust the falloff effect: Begin Distance, End Distance, and Exponent. The
Exponent slider adjusts how quickly the reflection becomes fainter as reflected layers
move away from the reflecting layer.
Blend Mode: A pop-up menu that determines the blend mode used for the reflection.
Note: For more information on using reflections and their parameters, see Reflections.
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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. However, the
Reflection parameters are available for flattened text, which is activated by the Flatten
checkbox in the Layout pane of the Text Inspector.
Additional Parameters in the Properties Inspector
Drop Shadow: Turns the drop shadow of a layer on and off. For more information about
working with drop shadows, see Drop Shadows.
Four Corner: Click the activation checkbox to turn distorting on and off. If a layer is
distorted and this checkbox is deselected, the layer resumes its original shape, although
the distorted coordinates are maintained. Reselecting the checkbox re-enables the distort
effect specified by the Four Corner coordinate parameters.
Value sliders modify the X and Y coordinates of the layer’s four corner points (Bottom
Left, Bottom Right, Top Right, and Top Left).
You can also control these parameters visually in the Canvas using the Distort tool. For
more information, see 2D Transform Tools.
Crop: Click the activation checkbox to turn cropping on and off. If a layer is cropped and
this checkbox is deselected, the layer resumes its original size, although the cropping
values are maintained. Reselecting the checkbox re-enables the cropping effect specified
by the crop parameters.
Adjust the four sliders to modify the crop parameters. Each slider defines the number of
pixels to be cropped from the layer’s four sides, relative to the outer edge of the bounding
box that surrounds it. These parameters are similar to the crop parameters in the Media
Inspector (available when you select a layer in the Media list). However, whereas cropping
a layer via the Media Inspector crops all instances of that layer in your project, cropping
a layer in the Properties Inspector crops only a single instance of the layer; duplicates of
the layer remain uncropped. For more information, see Media Inspector.
Timing: These parameters control all aspects of clip retiming. For more information, see
Retiming.
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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. If
you find yourself applying the same filters and masks to more than one copy of a layer,
you should take advantage of the Make Clone Layer command. Making clone layers has
the additional benefit of improving project playback and rendering performance.
You can make clone layers out of images, video clips, groups, particle systems, text, shapes,
and replicators.
To create a clone layer
Do one of the following:
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µ
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Select the layer to clone, then choose Object > Make Clone Layer (or press K).
Control-click a layer in the Canvas, then choose Make Clone Layer from the shortcut menu.
Control-click a layer in the Layers list or Timeline, then choose Make Clone Layer from
the shortcut menu.
A clone layer is created and appears in the Canvas on top of the original layer. In the
Layers list, the clone layer appears with the default name “Clone Layer.” A clone layer
icon appears next to the name.
The clone layer inherits the following properties from its source layer: Rotation, Scale,
Opacity, Blend Mode, and Drop Shadow. Adjustments made to any of these properties
of the source layer after clone layer creation do not propagate to any clone layers made
from the same source layer. The clone layers only inherit changes made to filters and
masks in the source layer.
Important: Changes to behaviors don’t propagate to clone layers, unless the behavior
affects a filter or mask in the source layer.
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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.
Opacity
By layering together layers with varying opacities, you can merge them together in ways
not otherwise possible. For example, if you have two full-screen background images you
want to use together, you can set the opacity of the layer in front to 50%, allowing the
layer in back to show through.
Image in front
Image in back
Front image at 50% opacity
You can overlap as many layers as you want, and by varying their opacities, selectively
reveal layers in the back.
To change a layer’s opacity
Do one of the following:
µ
µ
Adjust the Opacity slider in the Blending section of the Properties Inspector.
Adjust the Opacity slider in the HUD.
Note: Some layers, such as text and shapes, have additional opacity parameters in their
respective panes in the Inspector. For example, setting a shape’s Opacity value in the
Properties pane and setting its Opacity value in the Style pane require separate controls
that have multiplicative effects. In other words, if Opacity is set to 50% in the Properties
pane, then set to 50% in the Shape Style pane, the resulting opacity for the text is 25%.
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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. This is because the pixels of an image with a selected blend mode are
combined with the pixels of any layers lying immediately below in the Canvas. For example,
if you overlap two layers, then set the blend mode of the top one to Screen, the darker
areas of the screened image become transparent, while the lighter areas remain more
solid, resulting in the following image:
Important: The transparency created by most of the available blend modes only affects
how a layer combines with overlapping layers underneath. These blend modes do nothing
to affect a layer’s alpha channel. For information about blend modes that do affect a
layer’s alpha channel, see Blend Modes That Manipulate Alpha Channels.
Each blend mode combines layers in different ways. For example, setting the top layer’s
blend mode to Multiply yields a result opposite to that of the Screen blend mode, as the
darker areas of the image remain solid, and the lighter areas become transparent.
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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. In this case, each layer with
a specified blend mode only interacts with the image below it, whether that image is a
single layer or a pair of layers blended together.
Each of Motion’s blend modes works in conjunction with the Opacity parameter to alter
the interaction between the foreground and background layers. Adjusting a layer’s opacity
lessens the blending effect assigned to it, even as it reduces that layer’s visibility. This
allows you to customize any blend mode to better suit your needs.
Blend modes only affect overlapping layers, and have no interaction with your project’s
background color (unless the background is set to Environment). If you specify a blend
mode for a layer that doesn’t overlap anything, that layer remains as it was before.
To change a selected layer’s blend mode
Do one of the following:
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Choose an option from the Blend Mode pop-up menu in the HUD.
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Control-click a layer in the Canvas, then choose an option from the Blend Mode submenu
in the shortcut menu.
µ
Control-click a layer in the Layers list or Timeline, then choose an option from the Blend
Mode submenu in the shortcut menu.
Choose an option from the Blend Mode pop-up menu in the Properties Inspector.
Choose Object > Blend Mode, then choose an option from the submenu.
Display the Blend Mode column in the Layers list (choose View > Layers Columns > Blend
Mode), then choose an option from a layer’s Blend Mode pop-up menu.
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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. At first, this might not appear to be very exciting, but the Preserve Opacity
checkbox can be used in combination with the opacity and blend mode to create some
very interesting effects.
Note: The layer with the enabled Preserve Opacity parameter takes the opacity value of
the layer beneath it in the composite stack.
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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.
µ
To turn on Preserve Opacity
With a layer selected in the Canvas, Layers list, or Timeline, select the Preserve Opacity
checkbox in the Properties Inspector.
Using Blend Modes
Each blend mode presents a different method for combining two or more images together.
Blend modes work in addition to a layer’s alpha channel and opacity parameter.
To understand the descriptions of each blend mode in this chapter, it’s important to
understand that blend modes mix colors from overlapping images based on the brightness
values in each color channel in an image. Every image consists of red, green, blue, and
alpha channels. Each channel contains a range of brightness values that define the intensity
of each pixel in the image that uses some of the channel’s color.
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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.
Midrange color values
Blacks
Whites
For example, the Multiply blend mode renders color values that fall into the white areas
of an image transparent, while the black areas of the image are left alone. All midrange
color values become translucent, with colors in the lighter end of the scale becoming
more transparent than the colors in the darker end of the scale.
Group Blend Modes
Blend modes work differently depending on whether they’re used with groups or layers.
In particular, the Pass Through blend mode is available only for groups.
Pass Through
When a group is set to Pass Through, each layer is blended with all layers and groups
that appear underneath it in the Layers list. In this example, the Swirls layer is set to Stencil
Luma, and the Fishes layer is set to Add.
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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.
In this example, the Fishes and Swirls layers in the topmost group are blended only with
themselves when the topmost group is set to Normal.
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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. As a result, the combination of the Added Fishes and
the Stenciled Swirls layers is multiplied with the Gradient layer in the bottommost group.
Layer Blend Modes
The following section describes how blend modes affect individual layers. All blend modes
are presented in the order in which they appear in the Blend Mode pop-up menu.
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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 other brighter and darker colors serve to illustrate each blend mode’s handling of
overlapping midrange color values. The yellow, gray, orange, and blue squares, in
particular, all have very different color and luminance values that contrast sharply from
example to example.
Boxes object
Monkey object
Important: Depending on the blend mode, layer and group ordering may or may not
be important. Some blend modes behave differently depending on which image is on
top.
Normal
The default for layers. The only transparency in a layer set to Normal is caused by its
Opacity parameter or by an alpha channel assigned to it.
Subtract
Subtract darkens all overlapping colors. Whites in the foreground image go black, while
whites in the background image invert overlapping color values in the foreground image,
creating a negative effect.
Blacks in the foreground image become transparent, while blacks in the background
image are preserved.
Overlapping midrange color values are darkened based on the color of the background
image. In areas where the background is lighter than the foreground, the background
image is darkened. In areas where the background is darker than the foreground, the
colors are inverted.
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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.
The order of two layers affected by the Darken blend mode does not matter.
Suggested uses: The Darken blend mode is useful for using one image to texturize another
selectively, based on its darker areas. You can also use Screen, Color Burn, and Linear
Burn for variations on this effect.
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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 layers affected by the Multiply blend mode does not matter.
Suggested uses: The Multiply blend mode is useful in situations where you want to knock
out the white areas of a foreground image and blend the rest of the image with the colors
in the background. For example, if you superimpose a scanned sheet of handwritten text
over a background image using the Multiply blend mode, the resulting image becomes
textured with the darker parts of the foreground.
Color Burn
Color Burn intensifies the dark areas in each image. Whites in the background image
replace the foreground image, while whites in the foreground image become transparent.
Midrange color values in the background image allow midrange color values in the
foreground image to show through.
Lighter midrange color values in the background image allow more of the foreground
image to show through. Darker midrange values in all visible overlapping areas are then
mixed together, resulting in intensified color effects.
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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 Linear Burn blend mode does not matter.
Add
Add emphasizes the whites in each overlapping image and lightens all other overlapping
colors. The color values in every overlapping pixel are added together. The result is that
all overlapping midrange color values are lightened. Blacks from either image are
transparent, while whites in either image are preserved.
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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. Every pixel in each
image is compared, and the lightest pixel from either image is preserved, so the final
image consists of a dithered combination of the lightest pixels from each image. Whites
in both images show through in the resulting image.
The order of two layers affected by the Lighten blend mode does not matter.
Screen
Like Lighten, Screen also emphasizes the lightest parts of each overlapping image, except
that the midrange color values of both images are mixed together more evenly.
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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. It’s mainly useful when you want the
rest of the foreground subject to be mixed with the background image, based on its
brightness. It’s good for glow and lighting effects and for simulating reflections. You can
also use the Add, Lighten, and Color Dodge blend modes to create variations of this effect.
Top object
Bottom object
Screen composite
Color Dodge
Whites in either the foreground or background image are preserved in the final image.
Blacks in the background image replace the foreground image, while blacks in the
foreground image become transparent.
Midrange color values in the background image allow midrange color values in the
foreground image to show through. Darker values in the background image allow more
of the foreground image to show through. All overlapping midrange color values are
mixed together, resulting in interesting color mixes.
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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 Linear Dodge blend mode does not matter.
Overlay
Whites and blacks in the foreground image become translucent and interact with the
color values of the background image, causing intensified contrast. Whites and blacks in
the background image replace the foreground image.
Overlapping midrange values are mixed together differently depending on the brightness
of the background color values. Lighter background midrange values are mixed by
screening. Darker background midrange values are mixed by multiplying.
The visible result is that darker color values in the background image intensify the
foreground image, while lighter color values in the background image wash out
overlapping areas in the foreground image.
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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. All overlapping
midrange color values are mixed together, creating a more even tinting effect than the
Overlay blend mode.
The order of two layers affected by the Soft Light blend mode is important.
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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. Lighter background midrange values are
mixed by screening. Darker background midrange values are mixed together by
multiplying.
The visible result is that darker color values in the background image intensify the
foreground image, while lighter color values in the background image wash out
overlapping areas in the foreground image.
The order of two layers affected by the Hard Light blend mode is important.
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Vivid Light
Vivid Light is similar to the Hard Light blend mode, with two exceptions. The first is that
midrange color values are mixed together more intensely. The second is that whites and
blacks from either overlapping image are preserved in the end result.
Note: Dithering can cause overlapping areas of solid white and solid black.
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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.
Boxes object on top
Monkey object on top
Linear Light
Linear Light is similar to the Hard Light blend mode, except that overlapping midrange
color values are mixed together with higher contrast. 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. Lighter background colors brighten
the foreground image, while darker colors darken it.
The order of two layers affected by the Linear Light blend mode is important.
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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.
Overlapping midrange color values are treated differently depending on which of the
four regions of the luminance chart they fall into.
• Lighter and darker areas of the foreground image falling close to the whites and blacks
are preserved.
• Areas of the foreground image falling near the center of the midrange are tinted by
the background color.
• Darker areas of the foreground image between the blacks and center of the midrange
are lightened.
• Lighter areas of the foreground image between the whites and the center of the
midrange are darkened.
The end result might appear alternately tinted or solarized, depending on the lightness
or darkness of the overlapping values. This blend mode lends itself to more abstract
effects.
The order of two layers affected by the Pin Light blend mode is important.
Boxes object on top
Monkey object on top
Hard Mix
Hard Mix is similar to the Hard Light blend mode, except that the saturation of overlapping
midrange color values is intensified, resulting in extremely high-contrast images. Whites
and blacks are preserved.
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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.
Overlapping areas with lighter color values are lightened, while darker overlapping color
values become transparent.
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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.
Stencil modes crop out all non-overlapping parts of layers underneath the layer used as
the stencil. Silhouette modes do the opposite, punching holes in overlapping layers
underneath in the shape of the layer used as the silhouette.
When working in a 3D group, changes in depth order affect the Stencil and Silhouette
blend modes differently. For example, if you have two layers in a 3D group and the upper
layer is set to Stencil Alpha or Stencil Luma, the blend mode remains in effect when the
upper layer is moved behind the lower layer in Z space. If you have two layers in a 3D
group and the upper layer is set to Silhouette Alpha or Silhouette Luma, the blend mode
does not remain in effect when the upper layer is moved behind the lower layer in Z
space.
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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.
You can limit the Stencil or Silhouette blend mode to affect only those layers in the
same enclosing group by setting the group’s blend mode to anything other than Pass
Through.
For example, if you set the enclosing group of the two layers in the Silhouette Alpha
example to Normal, then add a group underneath containing additional layers, those
layers show through the transparent areas created by the silhouetted group.
Stencil Alpha
The Stencil Alpha blend mode uses the alpha channel of the affected layer to crop out
all non-overlapping parts of layers and groups underneath it in the Layers list.
Object used for stencil
Object underneath
End result
Stencil Luma
The Stencil Luma blend mode does the same thing as the Stencil Alpha blend mode, but
uses the affected layer’s luma value to define transparency. Stencil Luma is useful if the
layer you want to use for cropping has no alpha channel of its own.
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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.
If multiple layers or groups are set to Behind, they appear behind all other groups not
set to Behind, in the order in which they appear in the Layers list.
Alpha Add
The Alpha Add blend mode works similarly to the Add blend mode, but instead of adding
the color channels of overlapping layers, it adds their alpha channels together. Try using
this blend mode instead of Motion’s default method of alpha channel compositing for a
different treatment of overlapping areas of translucency.
Light Wrap
This mode takes bright areas from the background layer at the edge of the matte and
blurs them into the foreground layer.
This is intended to create a more organic, seamless composite, where light from the
background appears to bleed onto the foreground layer as would occur in a natural,
non-composited image. To adjust the parameters that affect the Light Wrap, such as the
Amount, Intensity, Opacity, and Mode, apply the Keyer filter and make those adjustments
in the Filters Inspector. For more information, see Keyer.
Note: Motion applies the Light Wrap effect at the end of the rendering process. When
you add other filters to the layer, such as color correction effects, they are rendered before
the Light Wrap.
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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.
Drop shadows also darken overlapping regions of background layers. Consequently,
adding a drop shadow to foreground text can often make the text easier to read.
Without a drop shadow
With a drop shadow
Because each layer has drop shadow parameters in the Inspector and HUD, it’s easy to
add a drop shadow to a layer. After you add a drop shadow, you can manipulate it in the
Canvas.
Tip: Motion also has the ability to generate true cast shadows when using lighting in 3D
layers. For more information about cast shadows, see Shadows.
Important: Text layers have additional drop shadow parameters, located in the Style pane
of the Text Inspector. For more information about text layer drop shadows, see Adding
a Drop Shadow.
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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.
Dragging anywhere in the drop shadow's bounding box allows you to simultaneously
change the shadow’s angle and distance.
To increase or decrease a drop shadow’s blur
1 Choose the Drop Shadow tool from the 2D tools pop-up menu in the toolbar.
2 In the Canvas, drag a corner handle inward to decrease a shadow’s blur or outward to
increase the blur.
To move a layer’s drop shadow
1 Choose the Drop Shadow tool from the 2D tools pop-up menu in the toolbar.
2 Drag anywhere in the shadow’s bounding box to move it around.
Drop Shadow Controls in the Properties Inspector
In addition to the Canvas and HUD drop shadow controls, each layer has drop shadow
parameters in the Properties Inspector.
Use the activation checkbox beside the Drop Shadow category in the Inspector to turn
a selected layer’s drop shadow on or off. Click Show on the right side of the Drop Shadow
category to reveal additional controls.
Color: Color controls that set the drop shadow’s color. The default color is black.
Opacity: A slider that sets the drop shadow’s transparency.
Blur: A slider that specifies the drop shadow’s softness.
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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.
Fixed Source: When this checkbox is selected, the drop shadow behaves as if cast by a
fixed light source, regardless of camera or text movement.
Retiming
Your motion graphics projects might require you to perform special timing tricks on
media: speeding a clip up, slowing it down, or playing it back at different speeds. Use the
Timing controls in the Properties Inspector to modify speed and playback attributes of
media clips.
Using Retiming Behaviors
In addition to the Timing controls in the Properties Inspector, Motion includes a number
of Retiming behaviors designed for commonly applied retiming tasks (hold frames,
strobing, looping, and so on). Take some time to look over the Retiming behaviors in
the Library before spending a lot of time in the Inspector creating your own custom
retiming from scratch.
Tip: You can also manipulate clip timing in the Timeline with the help of modifier keys.
Indicators in the Timeline help you visualize loops and other retiming conditions. For
more information on Retiming in the Timeline, see Retiming in the Timeline.
Timing Controls in the Properties Inspector
Media layers (images and movie clips as opposed to Motion-created shapes) have timing
parameters in the Properties Inspector. Click Show on the right side of the Timing category
to reveal these timing controls.
Still images and other layers without an inherent time dimension have a reduced set of
Timing controls.
Time Remap: Sets how time is remapped in the clip. Use this pop-up menu to set Constant
Speed or Variable Speed.
• Constant Speed: Retimes the entire clip using the same value.
• Variable Speed: Allows you to animate the speed of the clip over time.
Speed: A value slider that sets the speed of the clip as a percentage. The default is 100%.
Values lower than 100 play back the clip more slowly than its original speed and also
extend the duration of the clip. Values higher than 100 play back the clip faster than its
original speed and shorten the duration of the clip.
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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.
This parameter appears only when Time Remap is set to Variable Speed.
In: Sets the In point of the layer, in both constant and variable speed modes. Adjusting
this parameter moves the layer In point to the specified frame without affecting the
duration of the layer.
Out: Sets the Out point of the layer, in both constant and variable speed modes. Adjusting
this parameter moves the layer Out point to the specified frame without affecting the
duration of the layer.
Duration: Sets the total duration of the layer. If Time Remap is set to Constant Speed,
adjusting Duration will also affect the Speed and the Out point. If Time Remap is set to
Variable Speed, adjusting Duration does not affect variable speed playback.
Reverse: This checkbox controls whether the clip is played back in reverse.
Frame Blending: Sets the method used to determine how the image is blended during
each frame of playback. The Frame Blending pop-up menu contains the following items:
• None: Displays the frame from the original clip nearest the source frame.
• Blending: The default setting. Displays a blend of the individual pixels of adjacent
frames.
• Motion-Blur Blending: Applies a motion blur algorithm to the blended frames.
• Optical Flow: Uses an optical flow algorithm to blend the two frames surrounding the
desired frame. Using this method affects playback performance most significantly. To
display frames properly, Motion analyzes the clip to determine the directional movement
of pixels. Only the portion of the clip used in the project (the clip between the In and
Out points) is analyzed.
When you choose Optical flow, an analysis indicator appears in the lower-left corner
of the Canvas.
Analysis indicator
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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.
Note: The more motion contained in a clip, the longer the analysis takes.
For information on pausing, reordering, or stopping a clip analysis, see Displaying and
Editing Retiming Tasks.
Important: When importing interlaced footage and using the Optical Flow method for
frame blending, be sure the Field Order parameter (in the Media Inspector) is assigned
to the correct value. Otherwise, artifacts might appear in the retimed layer.
End Condition: A pop-up menu that lets you set how playback continues when the end
of the clip is reached. There are four options:
• None: The default setting. The layer’s duration in your project is equal to the duration
of its source media file.
• Loop: When the last frame of the clip is reached, the clip loops back to the first frame
and plays again. This can cause a jump in the clip’s apparent playback unless the clip
was designed to loop seamlessly.
• Ping-Pong: When the last frame of the clip is reached, the next iteration of clip playback
is reversed. If you set a clip of a ball rolling on the floor to loop with the Ping-Pong
option, it would appear to roll forward, then backward, then forward again for the
duration of the layer. The Ping-Pong option lets you extend the duration of some video
clips more smoothly than the Loop option.
• Hold: This freezes the last frame of the clip for the amount set in the End Duration
slider.
Note: When using the Hold option with interlaced footage, ensure that field order is
properly set in the Media Inspector. To modify a clip’s field order, select the clip in the
Media list, then choose an option from the Field Order pop-up menu in the Media
Inspector.
End Duration: A slider that lets you set the number of frames by which the clip is extended
at the end of its duration. This value can be adjusted only if End Condition is set to a value
other than None.
Displaying and Editing Retiming Tasks
You can display processing information when retiming a clip.
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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. You can interrupt current and pending operations by pressing the pause button
next to the progress bar.
µ
To pause clip analysis
In the Background Task List window, click the Pause button.
A message appears detailing how many frames have been processed.
Note: When analysis is paused, projects play back at a much improved speed.
µ
To restart clip analysis
In the Background Task List window, click the analyze/pause button.
Click to restart analysis
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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.
The expose commands allow you to access all layers in a project in the Canvas without
having to drill down into the Layers list or Timeline. Expose commands also let you select
inactive layers at the playhead’s current position or jump to a selected layer’s In point.
There are two expose commands: One displays all layers in a project, and the other displays
only those layers active at the current position of the playhead in the Timeline.
Exposing Active Layers
The Expose Active Layers command lets you view the layers that are active at the position
of the playhead in the Timeline.
To expose layers that are active at the playhead position
1 Click anywhere in the Canvas.
2 Press X.
Layers active at the current position of the playhead temporarily scale down and spread
out over the Canvas. Each active layer is represented by a white frame in the Canvas.
Moving the pointer over a frame reveals the layer’s name.
3 Select the layer to work on.
The elements move and rescale back to their original positions; the element is selected
in the Canvas; and the playhead moves to the first frame of the selected layer.
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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.
The layers move and rescale back to their original positions; the element is selected in
the Canvas; and the playhead moves to the first frame of the selected layer.
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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. You can control objects’ durations
and even perform common trim operations to edit the objects as you would in a nonlinear
video editing application.
Additional controls let you manipulate masks, filters, behaviors, keyframes, and audio
elements. The Timeline ruler provides an exact reference for managing timing and
synchronizing effects. You can lock tracks to prevent changes, temporarily hide an object
from view, and manage links between audio and video.
At the bottom of the Canvas (above the Timeline and toolbar) is an abbreviated version
of the Timeline, called the “mini-Timeline.” The mini-Timeline provides an at-a-glance
look at where selected objects fit into your overall project. It also provides controls to
perform quick edits such as moving, trimming, and slipping without opening the Timing
pane.
This chapter covers the following:
• About the Timeline (p. 320)
• Timeline Layers List (p. 322)
• Adding Objects to the Timeline Layers List (p. 327)
• Adding Layers to the Track Area (p. 331)
• Editing Objects in the Timeline (p. 337)
• Working in the Ruler (p. 351)
• Adding Markers (p. 358)
• Mini-Timeline (p. 362)
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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. You can add images and clips to your project via the Timeline, just as
you add files to the Layers list or the Canvas. You can drag objects into the Timeline layers
list, or drag them into the Timeline track area. The Timeline ruler, located above the track
area, provides a precise reference for managing timing and synchronizing effects. Using
controls in the Timeline layers list, you can lock tracks to prevent changes, temporarily
hide an object from view, and manage links between audio and video.
Timeline layers list
Timeline ruler
Track area
Although you can create and modify many types of effects without ever using the Timeline,
it is an essential tool when you want to manipulate the timing of your project’s contents.
Still, there are occasions when you might want to hide the Timeline to make more room
for other areas of the Motion project window.
To hide the Timeline
Do one of the following:
µ
Click the Show/Hide Timeline button in the lower-right corner of the Motion project
window.
µ
Press Command-7.
The Show/Hide Timeline button dims, and the Timeline collapses. For more information,
see Timeline View Options.
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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.
You can determine the type of each object in the track area based on its appearance. The
following list describes the appearance of various Timeline objects.
• Group: A double blue bar. For groups with multiple layers, the lower bar displays three
lines and a value indicating the number of layers in the group.
• Objects (video, stills, shapes, text, particles, replicators, cameras, lights): A blue bar.
• Masks: a gray bar.
• Behaviors and Filters: A thin purple bar.
• Keyframes: Red diamonds beneath the keyframed object. Selected keyframes appear
white.
• Audio: A green bar displaying the audio waveform. Audio tracks are not displayed by
default. For more information on displaying audio tracks see Working with Audio Tracks.
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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.
Timeline Layers List
The Timeline layers list mirrors the Layers list in the Project pane and displays your project
objects (groups, layers, filters, behaviors, masks, and so on) and their stacking order.
Keyframes applied to an object can also be displayed. In the Timeline layers list, you can
reorder objects. This change is immediately reflected in the Layers list in the Project pane.
You can also lock tracks to prevent further editing of those tracks and disable entire tracks
to omit them from view in the Canvas.
Naming Objects in the Timeline Layers List
You can rename any object in Motion. This can be helpful if you use more than one
version of an asset, using multiple cameras, lights, or rigs, or if you want to organize
elements in named groups. Masks, shapes, particles, and other content you generate in
Motion are created with generic names. Renaming them allows you to better manage
and keep track of them while you work.
To rename an object
1 In the Timeline layers list, double-click the name of the object.
2 Enter a new name in the editable text field.
3 Press Return or Tab.
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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.
Not only can you turn video or audio on and off, you can also disable or enable effects
such as masks, filters, and behaviors.
Activation checkbox is turned off.
µ
Disabled tracks appear dimmed.
To turn visibility for an object on or off
Click the checkbox at the left edge of the track you want to control.
When the box is checked, visibility is on, and when the box is unchecked, visibility is off.
Additionally, when a track is disabled, the entire track is dimmed in the Timeline.
Collapsing and Expanding Groups and Layers
Motion allows you to collapse and expand different parts of the Timeline layers list to
show more or less data to accommodate different working styles. Layers with applied
masks, filters, and other objects can be collapsed to hide those effects bars. Furthermore,
whole groups can be collapsed to hide all objects contained in them.
When a layer or group is collapsed in this manner, it still appears in the Canvas window.
Unlike enabling or disabling tracks, collapsing and expanding the Timeline layers list is
only an organizational tool to help manage the view of the Timeline.
Disclosure triangle
µ
To collapse or expand a layer or group in the Timeline
Click the disclosure triangle to the left of the layer or group name. If no disclosure triangle
is present, that object cannot be collapsed or expanded any further.
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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.
Locked tracks still appear in the Canvas and are included in your final output. Although
you cannot make changes to a locked object, you can still copy or duplicate that object
or change the object’s layer order.
µ
To lock a track
Click the lock icon at the right edge of the Timeline layers list.
Audio-Video Links
Ordinarily, objects that contain both audio and video are linked so they remain in sync.
This link is represented by an icon in the Timeline layers list.
Link icons
Note: To display the Audio Timeline, click the Show/Hide Audio Timeline button, located
in the lower-right corner of the Motion project window.
Objects that are linked are always edited together in the Timeline. Operations such as
cut, copy, paste, and split affect both audio and video. However, if you ever want to break
that relationship so you can move or edit the audio or video without the other tagging
along, you can disable that link and move either object freely. Beware that this might
result in your audio and video playing out of sync.
To manipulate audio and video elements separately
1 Click the link icon to the right of the object name for the video or audio element.
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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.
Show Behaviors button
Show Filters button
Show Masks button
The second three appear in the lower-right corner of the Motion project window.
Show Audio Timeline button
Show Keyframe
Editor button
Show Timeline button
Audio tracks and keyframes appear in separate partitions in the Timeline. When they are
visible, you can resize the partitions by dragging the divider bars between them.
Note: Press F6 to hide (or show) the Timing pane, regardless of whether the Timeline,
Audio Timeline, or Keyframe Editor is displayed.
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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.
Scroller
Zoom handle
Zoom/scroll control
Zoom slider
The zoom/scroll control, located at the bottom of the Timeline, is a scroll bar containing
a scroller control with zoom handles on either end. The width of the zoom/scroll control
represents the entire duration of your project. Drag the scroller left or right to navigate
the track area. Drag a zoom handle on either end of the scroller to change the zoom scale
of the track area.
The zoom slider, located in the bottom-right corner of the Motion project window, zooms
in and out of the track area at the position of the playhead. Drag left to zoom out. Drag
right to zoom in.
To zoom in or out of the Timeline
Do one of the following:
µ
Drag the zoom handle at either end of the scroller, inward to zoom in, or outward to
zoom out.
If you hold down the Shift key while dragging a zoom handle, the Timeline is zoomed
from the center of the visible area.
µ
Drag the zoom slider left to zoom out or right to zoom in.
Adjusting the Height of Timeline Tracks
You can adjust the height of the tracks displayed in the track area. Audio and object tracks
can be resized separately. However, some tracks, including filters and behaviors, cannot
be resized.
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To adjust the height of the tracks
Do one of the following:
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Drag a row separator between two layers in the Timeline layers list up or down to modify
the vertical size of the tracks.
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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.
You can display just the name of the object, which reduces the height of the track, allowing
you to see many tracks at once. You can choose to show the name of the object plus a
thumbnail image, which provides quick visual feedback about the content of the object.
Or you can display a track as a filmstrip, a series of sequential thumbnails that provide
visual feedback about the content of an object over time.
To customize the track display
1 Choose Motion > Preferences (or press Command-Comma) to display the Preferences
window.
2 Click the Appearance icon.
3 In the Timeline section, choose an item from the Timebar Display pop-up menu.
Choices include Name, Name Plus Thumbnail, and Filmstrip.
4 Click the close box to close the Preferences window.
The object bars are displayed according to your choice.
Adding Objects to the Timeline Layers List
You can add images and clips to your project by dragging them into the Timeline layers
list. When you drag an image or clip from the File Browser or Media list into the Timeline
layers list, you can choose whether to add the item to an existing group, add it to a new
group, or have it replace an existing layer. When you add a layer to the Timeline layers
list, a corresponding timebar appears in the track area. The new layer can appear above
or below an existing layer; where you release the mouse button determines placement
of the new layer.
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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.
• If you position the pointer over a group, the track is highlighted with a white border.
• If you position the pointer between layers in a group, the position indicator appears.
• If you position the pointer over an existing layer, the pointer becomes a curved arrow,
indicating that you are about to replace the existing layer with the new media item.
2 Release the mouse button to add the layer to the group.
The new layer is placed in the group below the other layers in the list, or between the
layers where you dragged it. If you dragged onto an existing layer, a new layer replaces
the previous one.
Note: If the media item is a clip with multiple audio tracks, a drop menu will appear,
allowing you to choose between mixing down the multiple tracks to stereo or importing
audio tracks individually.
To create a new group on top of existing groups
1 Drag an item from the File Browser, Library, or Media list into the Timeline layers list, at
the upper edge of the top group.
2 When the position indicator appears, release the mouse button.
A new group is created above other existing groups in the hierarchy or “stack” of groups
and layers.
To create a group above existing groups
1 Drag an item from the File Browser, Library, or Media list into the Timeline layers list,
below the lower edge of the bottom layer.
2 Release the mouse button.
A new group is created above the other existing groups in the hierarchy or “stack” of
groups and layers.
Note: Objects such as cameras and lights that are saved to the Library can also be dragged
to the Timeline.
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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.
2 When the position indicator appears in the location you want, release the mouse button.
The tracks are reordered.
To move a layer from one group to another group
1 Drag the layer icon in the Timeline layers list over another group.
A white border highlights the group.
2 Release the mouse button.
The layer moves into the selected group and is placed above any existing layers in that
group.
You can also move a layer to a specific place in the new group by dragging it between
existing tracks in the new group. Motion’s groups and layers are “spring-loaded,” which
means that when they are collapsed, dragging an object onto them and pausing causes
them to temporarily expand, like folders in the Finder.
To drop a layer inside a collapsed group
1 Drag the layer onto the collapsed group in the Timeline layers list.
2 Position the pointer over the name of the group until the group expands.
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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. You could go further and take that “parent” group, combine it with
some other groups, and treat that group as a single element, and so on. This is called
nesting or grouping.
There are many reasons to nest layers or groups. Doing so allows you to simplify your
composite, grouping layers and effects objects (behaviors, filters, masks, and so on) into
fewer containers. Nesting also allows you to manipulate a group of layers and effects
objects as one. For example, you can take the individual letters of your title (each animated
on its own) and use nesting to animate the group of them across the screen. You can
also use nesting to create complex particle systems. You can nest multiple layers and
effects objects into a group, then use the entire group as the emitter cell. For more
information on particle systems, see Working with Particles.
Note: You cannot use the Group command with layers that are in different groups.
To place one group inside another
1 In the Timeline layers list, drag one group on top of another group.
A white border highlights the destination group.
2 Release the mouse button.
The first group is now nested inside the second group.
You can also select the layers you want and choose Object > Group (or press
Command-Shift-G).
Note: There is no limit to the number of groups you can nest.
µ
To return a nested group to its original state
Select the nested group, then choose Object > Ungroup (or press Command-Option-G).
The nested group is restored into individual layers. Any group in another group can be
ungrouped.
To remove a group from a nest
1 Drag the group out of the existing parent group to the area beneath all existing groups.
The outline of the Timeline layers list area becomes highlighted.
2 Release the mouse button.
The group is restored to primary group status.
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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.
µ
To select more than one group, layer, or effects object track
Command-click to select tracks in the Layers list.
Adding Layers to the Track Area
When you drag a new media item into the track area, a drop menu appears with options
for how the new layer should be incorporated. Depending on where in the track area
you drop the item, the menu displays different options. If you drag to a group or layer
track in the track area, you can choose Composite, Insert, or Overwrite. An additional
Exchange option becomes available when you exchange the same type of media (such
as a QuickTime movie, an image sequence, or an image file). For example, the Exchange
menu item is displayed when you drag a QuickTime movie onto another QuickTime
movie’s track.
Library effects (behaviors, filters, and so on) can also be dragged into the Timeline track
area. However, because effects objects are applied to media layers (images, clips, audio,
and so on), they cannot be grouped by themselves.
Note: As previously discussed, you can also drag media items to the Timeline layers list.
For more information, see Adding Objects to the Timeline Layers List.
When you add a media item to a project via the track area, a new layer appears in the
Timeline layers list. The new layer can appear above or below an existing layer; where
you release the mouse button determines placement of the new layer.
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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. This means that a new track is added above the other tracks in
the Timeline, and the layer appears on top of other layers in the Canvas.
Composite
When you choose Composite from the drop menu, the new object is added to a new
track in the active group, and all layers remain visible in the Canvas simultaneously.
Before
After Composite edit
To composite a layer
1 Drag an item from the File Browser, Library, or Media list into the Timeline track area.
As you drag, a tooltip appears at the pointer, indicating the frame number where you
are located.
2 When you reach the frame where you want the new layer to start, position the pointer
over the layer you want as the background, holding down the mouse button until the
drop menu appears.
3 Choose Composite from the drop menu.
The new layer is composited into the project.
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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.
After Insert edit
Before
If you insert a new item midway through an existing layer, the existing layer is split into
two layers, each on its own track.
To insert a layer
1 Drag an item from the File Browser, Library, or Media list over an existing layer in the
Timeline track area.
As you drag, a tooltip appears at the pointer, indicating the frame number where you
are located.
2 Drag to the frame where you want the new layer to start, holding down the mouse button
until the drop menu appears.
3 Choose Insert from the drop menu.
The new layer is inserted into the track, breaking the original bar into two, and pushing
the frames after the insertion further out in time.
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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.
As you drag, a tooltip appears, indicating the frame number where you are located.
2 Drag to the frame where you want the new layer to start, holding down the mouse button
until the drop menu appears.
3 Choose Overwrite from the drop menu.
The frames of the new layer replace the frames of the original layer. If the original layer
contained more frames than the new one, the old layer is split into two layers and the
additional frames remain.
Exchange
The Exchange drop menu option is a variant of the Overwrite option, but instead of
dropping the entire duration of the new layer into the project, the duration of the existing
layer is used.
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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.
Note: You cannot use Exchange with audio files.
To exchange a layer
1 Drag an item from the File Browser, Library, or Media list into the Timeline track area.
As you drag, a tooltip appears, indicating the frame number where you are located.
2 Drag to the frame where you want the new layer to start, holding down the mouse button
until the drop menu appears.
3 Choose Exchange from the drop menu.
The old layer is replaced by the new layer.
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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).
Before edit
Composite edit
Sequential edit
To add multiple layers as a composite
1 Shift-click or Command-click to select multiple items in the File Browser, Library, or Media
list, then drag them to the Timeline track area.
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 Composite from the drop menu.
Multiple layers are added to the project at the same point in time, each new layer on its
own track.
Also, if you release the mouse button in the Timeline track area before the drop menu
appears, a composite edit is applied by default.
Alternatively, you can drop the multiple layers into the Timeline layers list. Doing so results
in a composite edit.
To add multiple layers sequentially
1 Shift-click or Command-click to select multiple items in the File Browser, Library, or Media
list, then drag them to the Timeline track area.
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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. You can also set the delay time before a
drop menu appears.
To specify where new objects appear in the Timeline
1 Choose Motion > Preferences (or press Command-Comma).
The Preferences window appears.
2 Click the Project icon.
The Project pane opens.
3 In the Still Images & Layers section, click the appropriate button to create layers at “Current
frame” or “Start of project.”
Note: The Create Layers At preference applies only when you drag items to the Timeline
layers list, the Layers list, or Canvas. Clips dropped on a specific frame in the Timeline
track area appear at that exact location.
To set the drop menu delay preference
1 Choose Motion > Preferences (or press Command-Comma).
The Preferences window appears.
2 Click the General icon to view the General pane.
3 In the Interface section, adjust the Drop Menu Delay slider to set the delay pause for drop
menus in Motion.
Editing Objects in the Timeline
During the process of designing and implementing a motion graphics project, you place
objects in the Timeline and Canvas, move them forward or backward in time, and trim
them to correspond with the timing of other objects in your project.
Motion has several features that help you modify objects in the Timeline. You can arrange
your objects to begin and end at designated frames. You can also use powerful alignment
and timing tools, such as snapping and markers. You can retime objects, forcing them
to play at faster or slower speeds. You can also modify keyframes in the Timeline. This
section describes the various ways you can perform these actions.
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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.
µ
To move an object bar in the Timeline
In the Timeline track area, drag an object bar left or right to move it in time.
A tooltip appears, identifying the new In and Out points as you drag the bar. A delta
symbol (triangle) indicates the number of frames you are moving.
µ
To move an object bar and snap it to the In and Out points of neighboring objects
Press Shift as you drag the object bar in the Timeline.
Vertical lines appear in the track, corresponding to the In and Out points of other object
bars. The active object bar snaps to these lines as you drag.
Moving Object Bars to the Playhead Position
You can move an object bar to a new location in its track by using the Move Selected In
Point or Move Selected Out Point command. This command shifts the position of the
selected object bar to the current playhead position. You can also use this command to
move and align multiple objects in one operation.
To move an object bar to the playhead position
1 Select the object bar to move.
Shift-click to select multiple object bars, if desired.
2 Place the playhead at the point in the Timeline where you want to move the object.
3 Choose Mark > Move Selected In Point (or press Shift-Left Bracket) to align the object’s
beginning to the playhead, or choose Mark > Move Selected Out Point (or press Shift-Right
Bracket) to align the end of the object to the playhead position.
Moving Object Bars Shortcut
In the Timeline, you can move an object bar forward or backward in its track a specific
number of frames, or to a specific frame.
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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.
To move an object bar a specific number of frames
Do one of the following:
µ
To move an object bar forward a specific number of frames, select the object, type a plus
sign (+) followed by the number of the frames you want to move, then press Return.
µ
To move an object bar backward a specific number of frames, select the object, type a
minus sign (–) followed by the number of the frames you want to move, then press Return.
Trimming Objects
Trim an object bar when you want to shorten or lengthen its duration in the Timeline.
You can shorten or lengthen the beginning or end of the object by dragging from the
left or right edge of the object bar (the In and Out points).
You can also trim an object bar (change its In and Out points) by using menu commands
and corresponding keyboard shortcuts. This allows you to trim multiple objects
simultaneously, as well as make trimming changes on the fly while your project is playing
back.
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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. You
can also change the effective duration of a clip without adding or removing frames by
changing the clip’s playback speed. For more information on the Timing controls, see
Retiming.
When you trim a video object in the track area, Motion provides a visual representation
of how much additional footage is available in the object’s source clip: a dimmed extension
on either end of the object bar indicating that unused frames exist in the source video
clip. If you see no dimmed extensions when you trim an object bar, there are no unused
frames in the source clip. Consequently, you cannot lengthen the object bar (unless you
change the object’s End Condition in the Properties Inspector for the clip).
Unused frames
To trim an object bar
1 Move the pointer to one end of the object bar you want to trim.
The pointer changes to a trim pointer.
2 Drag the end of the bar until it reaches the frame where you want the object to start or
end.
As you drag, a tooltip indicates the new In or Out point, and the new duration of the
object.
µ
To trim an object bar and snap its In or Out point to neighboring object bars
Press Shift as you drag the edge of the object bar in the track area.
Vertical lines appear in the track, corresponding to the In and Out points of other object
bars. The active object bar snaps to these lines as you drag.
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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.
All selected objects are trimmed to the new point.
Note: If an object has insufficient source media to complete the trim, the bar moves as
far as it can toward the new point.
Slipping Video Layers
Slip a video layer when you want to use a different section of your source clip without
changing the layer’s duration or where it appears in the Timeline.
Important: Slipping is only possible after you have trimmed a video layer’s timebar.
For example, if you have a shot of a door opening that is three seconds long and you
want to trim it down to only one second, you can use the Slip function to select which
one-second section to use: the first second as the door leaves the jamb, the next second
where it is flying open, or the last second where it bangs against the wall.
Before
After Slip
As with trimming, when you slip a video layer in the track area, Motion provides a visual
representation of how much additional footage is available in the object’s source clip: a
dimmed extension on either end of the object bar indicates that unused frames exist in
the source video clip. You can only slip an object bar as far as the existing unused frames
in the source media.
To slip a video layer
1 With the pointer over the video layer’s timebar, press and hold down the Option key.
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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. Or you might want an object to change layer order
midway through, to create the effect that objects are moving in 3D space. When working
in 3D, you can split camera tracks, too. Splitting tracks allows you to turn one object into
multiple pieces and then manipulate each segment of the object on its own track.
Before
After Split
To split an object bar
1 Select the object bar to split.
2 Place the playhead on the frame where you want the split to occur.
3 Choose Edit > Split.
The object bar is broken into two pieces, each positioned on its own track.
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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.
2 Choose Edit > Delete (or press Delete).
You can also Control-click the object, then choose Delete from the shortcut menu.
To ripple delete an object
1 Select the object to delete.
2 Choose Edit > Ripple Delete (or press Shift-Delete).
To cut an object
1 Select an object to delete.
2 Choose Edit > Cut (or press Command-X).
You can also Control-click the object, then choose Cut from the shortcut menu.
Copying and Pasting Objects
As in other applications, in Motion you can copy and paste objects. Copying leaves an
object in place and copies it to the Clipboard for later pasting.
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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. If no group is selected, the object is pasted into the group it was copied from. If
it was copied from outside the current project, a new group is created.
Pasting multiple objects retains the relative object and layer order of the Clipboard
contents.
Objects with filters, behaviors, keyframes, and other effects retain those effects when cut,
copied, and pasted. You can also copy or cut filter and behavior objects from one media
layer and then paste them into another media layer, effectively transferring the effect to
a different media item.
To copy an object to the Clipboard
1 In the Timeline layers list, select the object to copy.
2 Choose Edit > Copy (or press Command-C).
To paste an object into the Timeline
1 In the Timeline layers list, select the group you to paste the object into.
2 Position the playhead at the desired time position.
3 Choose Edit > Paste (or press Command-V).
Paste Special
In addition to ordinary pasting, Motion lets you paste as an insert, overwrite, or exchange
edit. These three commands appear in the Paste Special dialog. Paste special can also be
used with selected regions in the Timeline to perform a special type of paste. For more
information, see Pasting into a Region Using the Paste Special Command.
• Insert into time region: Pastes the Clipboard contents into the project, pushing existing
objects farther down in time.
• Overwrite into time region: Pastes the Clipboard contents into the project, deleting any
existing objects at the same point in time.
• Exchange media with existing object: Replaces the selected object in the project with
the Clipboard contents.
To paste an object as an insert 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).
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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.
The object is pasted into the selected region, overwriting any existing objects.
To paste an object as an exchange edit
1 Select an object from the File Browser and choose Edit > Copy (or press Command-C).
Note: The “Exchange media with existing object” option is only available for an item
copied from the File Browser.
2 Select the group to paste the object into.
3 Position the playhead at the desired time position.
4 Choose Edit > Paste Special (or press Command-Option-V).
The Paste Special dialog appears.
5 Select “Exchange media with existing object.”
6 Click OK to confirm your edit.
Displaying and Modifying Keyframes in the Timeline
You can move or delete keyframes that are displayed in the Timeline. You can also display
the animation curve for a selected keyframe, using the Keyframe Editor.
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To display keyframes in the Timeline
In the upper-right corner of the Timeline, click the Show/Hide Keyframes button.
Show/Hide
Keyframes button
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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.
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To move a keyframe’s position in time
Drag the keyframe to the left or right. When selected, the keyframe appears white.
Moving the keyframe in the Timeline only modifies its position in time. To modify the
value of a keyframe, do one of the following:
• Control-click the keyframe, choose the property to adjust from the shortcut menu,
enter a new value, then press Return.
• Use the Keyframe Editor. This allows you to change the value and interpolation of the
keyframe. For more information on the Keyframe Editor, see Keyframes and Curves.
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To delete a keyframe or group of selected keyframes
Select the keyframe or keyframes to delete, then do one of the following:
• Press Delete.
• Control-click a selected keyframe, then choose Delete Keyframes from the shortcut
menu.
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To delete all keyframes
Control-click a keyframe, then choose Delete All Keyframes from the shortcut menu.
To display an animation curve in the Keyframe Editor
Control-click a keyframe on the track, then choose Show in Keyframe Editor from the
shortcut menu.
The Keyframe Editor appears underneath the Timeline, showing the animation curve and
a new, untitled curve set. For more information on curve sets, see Filtering the Parameter
List.
Retiming in the Timeline
You can modify the duration and playback speed of video tracks in the Timeline.
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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. For more information on
using the Retiming behaviors, see Retiming Behaviors.
Adjusting a Video Clip’s Speed
Motion allows you to easily change the timing of video objects in the Timeline.
To shorten the video clip’s duration and speed up its playback speed
1 With the pointer over the end of a video clip’s object bar (the Out point), press and hold
down the Option key.
The pointer turns into the retime pointer.
2 Drag the Out point of the clip’s bar to the left.
As you drag, the tooltip displays the clip’s speed and duration.
Note: To use the retime pointer, Constant Speed must be chosen from the Time Remap
pop-up menu in the Properties Inspector. When Variable Speed is chosen, the retime
pointer has no effect. You cannot retime images, effects, and other non-video objects.
To lengthen a video object’s duration and slow down its playback speed
1 With the pointer over the end of a video clip’s object bar (the Out point), press and hold
down the Option key.
The pointer turns into the retime pointer.
2 Drag the Out point of the clip’s bar to the right.
As you drag, the tooltip displays the clip’s speed and duration.
Looping a Clip
Another way of extending a video clip’s duration is by looping it. When a looped clip
reaches its last frame, it starts playing again from its first frame. You can easily loop a clip
by adjusting it in the Timeline.
To loop a clip
1 With the pointer over the end of a video clip’s object bar (the Out point), press and hold
down the Option and Shift keys.
The pointer turns into the loop pointer.
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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.
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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.
Editing in the Group Track
You can perform editing tasks in the group track, even if the track is collapsed and all
objects in the group are not visible in the Timeline track area.
Group tracks contain two colored bars. The narrow, dark-blue upper bar edits all objects
in the group as a single unit. It is labeled with the name of the group (“Group” by default).
The lower group bar—taller and a lighter shade of blue—edits individual objects in the
group. The lower group bar displays information about the names of individual objects
in the group, as well as the number of objects that overlap in composited areas of the
Timeline.
Upper group layer
Lower group layer
Moving Objects Via the Group Track
Motion lets you move objects in the Timeline via the group track. Depending on where
you drag in the group track, you can move all objects, individual objects, or just those
objects that overlap in time (composited objects).
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To move all objects in a group at once
Drag the upper group bar left or right.
All objects in the group move in time.
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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.
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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.
Trimming Objects Via the Group Track
Trimming the edges of the upper group bar trims the edges of the objects in the group.
If there is only one object, trimming the upper group bar trims that object. If there is
more than one object lined up with the edge of the group, trimming the group trims all
of those objects.
You cannot trim overlapping objects via the group track.
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To trim objects in a group
Drag an end of the upper group bar right or left in the track area.
All objects in the group are trimmed.
Before
After
Disconnecting a Group Bar from Its Contents
You can modify the upper group bar to be longer or shorter than the contents of the
group (the lower group bar). For example, you might shorten the upper group bar to
hide a section of the objects in it. Objects that extend beyond the ends of the upper
group bar are not displayed in the Canvas.
µ
To change the duration of the group independently from the objects in it
Holding down the Command key, drag either end of the upper group bar left or right.
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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).
µ
To trim an image or video object bar without trimming its applied effects
Press Command while you drag the edge of the image or video object bar.
The image or video object bar is trimmed independently of its applied effects objects.
Slipping Video Layers Via the Group Track
In addition to moving and trimming, you can slip video layers in the group track. Any
portion of the lower group bar that contains only one video layer can be slipped in this
manner. Areas where more than one layer overlap can be slipped by Control-clicking the
group bar and choosing a video layer from the shortcut menu.
µ
To slip a video layer via the group track
Holding down the Option key, drag an area in the lower group bar where the video layer
is located.
If there are overlapping (composited) layers, before performing this operation, Control-click
the overlapping region, then choose the video layer from the shortcut menu.
Dragging right slips the video clip to an earlier portion of the source media. Dragging
left slips the video clip to a later portion of the source media. Either way, the position of
the clip in the Timeline and its duration are unchanged.
Note: You can only slip an object if there are unused frames in the source media associated
with that clip. For more information on slipping, see Slipping Video Layers.
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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. You can drag the playhead
to “scrub” through your project as quickly or slowly as you want, or immediately jump
to a specific frame. Additionally, you can jump to object boundaries, markers, and other
important indicators in the Timeline.
Many navigation tasks are accessible via the timing display in the toolbar.
Note: The timing display can be set to show frames or timecode. To set the timing display
duration to frames, choose Show Frames from the pop-up menu on the right side of the
timing display (the inverted arrow).
To move the playhead to a new point in time
Do one of the following:
µ
Double-click the current frame number in the timing display, enter a new frame number,
then press Return.
µ
Drag left or right over the current frame number in the timing display to rewind or
advance.
µ
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Drag the playhead in the Timeline ruler to the frame you want.
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With the Timeline active (and no objects selected), enter a new frame number, then press
Return to jump to that frame.
Click the Timeline ruler at the frame number where you want to move the playhead.
With the Canvas or Project pane active, enter a new frame number, then press Return to
jump to that frame.
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.
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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.
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.
To move ahead or back in seconds, minutes, or hours
1 Double-click in the timing display.
2 Do any of the following:
• To move forward in seconds, type a plus sign (+), enter the number of seconds to move
forward, then enter a period. For example, to move 2 seconds ahead, enter “+2.” (with
a period after the number), then press Return. To move ahead in minutes, enter two
periods after the number, and to move ahead in hours, enter three periods after the
number.
• To move backward in seconds, enter a minus sign (–), enter the number of seconds to
move backward, then enter a period. For example, to move 2 seconds backward, enter
“–2.” (with a period after the number), then press Return. To move backward in minutes,
enter two periods after the number, and to move backward in hours, enter three periods
after the number.
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 play back your project
Press the Space bar.
To move forward or backward one frame at a time
Do one of the following:
µ
Click the “Go to next frame” or “Go to previous frame” button in the transport controls
(to the right of the Play button).
µ
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Choose Mark > Go to > Previous Frame or Next Frame.
Press the Left Arrow key to move backward or the Right Arrow key to move forward.
To move forward or backward ten frames at a time
Do one of the following:
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Choose Mark > Go to > 10 Frames Back or 10 Frames Forward.
Press the Shift key, then press the Left Arrow or Right Arrow key.
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To jump to the beginning of the project
Do one of the following:
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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:
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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:
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With an animated object selected, press Shift-K.
With an animated object selected, choose Mark > Go to > Next Keyframe.
To jump to the previous keyframe
Do one of the following:
µ
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With the animated object selected, press Option-K.
With the animated object selected, choose Mark > Go to > Previous Keyframe.
For information on displaying keyframes in the Timeline, see Timeline View Options.
In addition to moving to new positions in the ruler, you can navigate to objects in the
Timeline, such as objects, markers, and keyframes. For more information on markers, see
Adding Markers. For more information on keyframes, see Keyframes and Curves.
To jump to the beginning or end of an object in the Timeline
1 Select the object to navigate to.
2 Do one of the following:
• Choose Mark > Go to > Selection In Point or Selection Out Point.
• Press Shift-I (for the In point) or Shift-O (for the Out point).
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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.
To customize the playback In point
Do one of the following:
µ
In the ruler, drag the In point marker from the left edge of the ruler to the frame where
you want to set the In point. As you drag, the playhead also moves with your pointer.
When you release the mouse button, the playhead snaps back to its previous position.
µ
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Choose Mark > Mark Play Range In.
In the ruler, move the playhead to the frame where you want to set the In point, then
press Command-Option-I.
To customize the playback Out point
Do one of the following:
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In the ruler, drag the Out point marker from the right edge of the ruler to the frame where
you want to set the Out point.
µ
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Choose Mark > Mark Play Range Out.
In the ruler, move the playhead to the frame where you want to set the Out point, then
press Command-Option-O.
To reset playback In and Out points
Do one of the following:
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Choose Mark > Reset Play Range.
Press Option-X.
The In and Out points reset themselves to the beginning and end of the project.
To navigate to playback In and Out points
Do one of the following:
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Choose Mark > Go to > Play Range Start or Play Range End.
Press Shift-Home (In point) or Shift-End (Out point).
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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.
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To select a range of frames
Holding down the Command and Option keys, drag in the Timeline ruler.
A light highlighted band appears over the selected frames.
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To move a region
Position the pointer over the region, then drag to move the region.
Note: This operation does not move objects within the region.
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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. To move a pasted
region to the playhead location, press the Shift key while you drag the pasted object. As
you approach the current playhead location, the object snaps into place.
Pasting into a Region Using the Paste Special Command
You can also paste objects into a defined region using the Paste Special command. You
have three choices for how the “paste into” is performed. You can insert, pushing the
existing region down in time; overwrite the existing contents of the region; or exchange
the existing objects with the Clipboard contents. In all these cases, the pasted objects
never exceed the duration of the region they are pasted into.
To paste into a region
1 Select the object to copy to the Clipboard to be pasted.
2 Press Command-C to copy or Command-X to cut your selection.
3 Holding down the Command and Option keys, drag in the ruler to select a region.
4 Choose Edit > Paste Special.
The Paste Special dialog appears.
5 Select Insert, Overwrite, or Exchange, then click OK.
The Clipboard contents are pasted into the region using the method you specified. For
more information on the different editing types, see Adding Layers to the Track Area.
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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.
The number of frames in the region is added to the project, beginning at the end of the
selected region and pushing any existing objects further out in time.
Before
After
If time is inserted during a range that contains a video clip, the clip is split onto two tracks
and objects beyond the split point are placed in a new group.
Project Duration
Motion projects default to ten seconds in length. You can change this duration to match
the needs of your project. To learn how to change the default project duration, see Project
Properties.
The project duration is displayed at the bottom of the Motion window. You can also
display the duration in the timing display in the toolbar.
µ
To display the project duration in the timing display
Choose Show Project Duration from the pop-up menu in the timing display (the
downward-facing arrow).
µ
Click the watch icon to the left of the numbers in the timing display.
To change the project duration
Do one of the following:
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With the timing display set to show project duration, double-click the number, then enter
a duration value.
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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.
Adding Markers
A marker is a visual reference point in the Timeline that identifies a specific frame. You
can add as many markers as you want in the Timeline ruler while playing the project, or
when the playhead is stopped.
Use markers to:
• Add a visual reference to an object.
• Add a visual reference to a project marker in the mini-Timeline.
• Align other objects or keyframes to an important point in time.
• Add notes about a specific area in your project.
• Customize effects templates for use in Final Cut Pro X. For more information about
template markers, see Working with Markers in Templates.
You can assign different colors to different types or markers and create marker groups.
For example, use green to label all audio markers or pink to identify all temporary object
markers.
You can add two types of markers: project markers and object markers. Project markers
are fixed to a specific frame or timecode value in the ruler. Object markers are attached
to an object and move around as you move the object in the Timeline.
Project marker
Object marker
(with duration)
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Project marker
(with duration)
Object marker
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.
To add an object marker
1 Place the playhead at the frame where you want the marker.
2 Select the object to add the marker to, then do one of the following:
• Choose Mark > Markers > Add Marker.
• Press M.
A red marker is added to the bar for the selected object.
In this way, you can add markers while playing your project. The markers appear at the
frame where the playhead is at the time you press the M key (or choose Mark > Markers
> Add Marker).
Moving and Deleting Markers
Timeline markers can be easily moved or deleted.
µ
To move a marker
Drag the marker left or right to a new location.
To delete a marker
Do one of the following:
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Drag the marker vertically out of the area where it resides, then release the mouse button.
The marker disappears with a “poof” animation.
µ
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Double-click the marker, then click Delete Marker in the Edit Marker dialog.
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Control-click the marker, then choose Delete Marker from the shortcut menu.
Position the playhead over the marker (select the group or object for group or object
markers), then choose Mark > Markers > Delete Marker.
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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.
To delete all markers in a given object
Do one of the following:
µ
Select the object containing the markers you want to delete, then choose Mark > Markers
> Delete All Markers.
Editing Marker Information
You can edit the information for a marker, including its name, starting frame, duration,
and color. You can also add comments to the marker. Comments show up as a tooltip
when the pointer is placed over the marker.
To edit marker information
1 Open the Edit Marker dialog by doing one of the following:
• Double-click a marker to display the Edit Marker dialog.
• Control-click the Marker, then choose Edit Marker from the shortcut menu.
The Edit Marker dialog appears.
• For object markers, move the playhead to the marker, then choose Mark > Markers >
Edit Marker (or press Command-Option-M).
2 Enter a name in the Name field.
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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.
6 Click a Color button to set the marker color.
Project markers have an additional field called Type. For more information, see Adding
Template Markers.
7 Click OK to accept your changes.
Navigating with Markers
You can jump from your current playhead position to a nearby project marker forward
or backward.
µ
To jump to the next marker
Control-click the Timeline ruler, then choose Next Marker from the shortcut menu.
The playhead jumps to the starting position of the next project marker.
You can also choose Mark > Go To > Next Marker or press Command–Option–Right Arrow.
µ
To jump to the previous marker
Control-click the Timeline ruler, then choose Previous Marker from the shortcut menu.
The playhead jumps to the starting position of the previous project marker.
You can also choose Mark > Go To > Previous Marker or press Command–Option–Left
Arrow.
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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. The
mini-Timeline also has a playhead to indicate which frame you are viewing as well as In
point and Out point markers to identify the play range. The length of the mini-Timeline
represents the entire duration of the project.
Out point marker
In point marker
Playhead
Selected object
You can drag the playhead through the mini-Timeline to scrub your project, or to jump
to a specific point in time. In the mini-Timeline, you can also change the play range of
the entire project as well as move, trim, or slip a selected object.
Editing in the Mini-Timeline
You can perform many nonlinear editing functions in the mini-Timeline. You can drag
clips or images from the File Browser, or objects from the Library (such as replicators or
shapes) to the mini-Timeline. You can also move, trim, and slip objects to change which
portion of the object appears at which point in time. For more information on editing
functions such as Move, Trim, and Slip, see Editing Objects in the Timeline.
To add an object to the mini-Timeline
1 Drag the item from the File Browser to the mini-Timeline.
As you drag, a tooltip appears to indicate the frame where your edit will take place.
2 When you reach the desired frame, release the mouse button.
The object is added to the project beginning at that frame.
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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.
To add multiple objects to the mini-Timeline
1 Shift-click to select multiple items in the File Browser, then drag them onto the
mini-Timeline.
As you drag, a tooltip appears to indicate the frame where your edit will take place.
2 Continuing to hold down the mouse button, drag to the desired frame.
A drop menu appears.
3 Choose an edit type from the drop menu, then release the mouse button.
Depending on the item dragged to the Timeline, up to four drop options are available.
For more information on the Timeline drop menu, see Adding Layers to the Track Area.
To move an object in time
1 In the Layers list, Timeline Layers list, or Canvas, select the object you want to move.
The object appears in the mini-Timeline.
2 In the mini-Timeline, drag the object to the left or right to reposition it in time.
A tooltip appears to indicate the new In and Out point of the object, as well as the amount
of change from the previous position.
3 When you reach the position you want, release the mouse button.
To shorten or lengthen (trim) an object
1 Select the object to display it in the mini-Timeline.
2 Position the pointer over the beginning or ending edge of the blue bar in the
mini-Timeline.
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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.
To slip a video clip (or other multi-frame object) in the mini-Timeline
1 Select the multi-frame object you want to modify.
2 Position the pointer over the body of the clip in the mini-Timeline and hold down the
Option key.
The pointer changes to a slip pointer.
3 Continuing to hold down the Option key, drag left or right in the mini-Timeline to use a
later or earlier part of the clip.
A tooltip appears to indicate the new In and Out points.
Note: You cannot slip a clip if it has not been trimmed first. For more information, see
Slipping Video Layers.
µ
To snap the playhead to a project marker in the mini-Timeline
Press Shift and drag the playhead in the mini-Timeline.
The playhead snaps to the frame that contains a project marker.
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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.
Drag a behavior onto an object, and the object is animated based on the type of behavior
you applied. You can modify and customize these effects by adjusting behavior parameters
in the HUD or in the Behaviors Inspector.
This chapter covers the following:
• Behavior Concepts (p. 365)
• Browsing for Behaviors (p. 369)
• Applying and Removing Behaviors (p. 370)
• Modifying Behaviors (p. 377)
• Working with Behaviors (p. 380)
• Changing the Timing of Behaviors (p. 385)
• Animating Behavior Parameters (p. 392)
• Saving and Sharing Custom Behaviors (p. 394)
• Basic Motion Behaviors (p. 397)
• Parameter Behaviors (p. 421)
• Retiming Behaviors (p. 446)
• Simulation Behaviors (p. 452)
• Additional Behaviors (p. 478)
Behavior Concepts
Behaviors are designed to be flexible and can be combined with one another to create
all kinds of effects. Using behaviors, motion graphics design becomes interactive, allowing
you to create complex motion effects and simulated object interactions very quickly.
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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. Rather than
immediately animating an object to which it is applied, a tracking behavior analyzes the
object’s motion, or the motion in a video clip. This analyzed motion can be used to stabilize
a shaky clip, or match the movement of an object to the movement in the analyzed clip.
For more information, see Motion Tracking.
There are 11 kinds of behaviors in Motion.
• Audio behaviors are applied to audio files to create simple audio effects, such as fade-ins
and fade-outs, pans, and fly-bys. There is also a separate Audio parameter behavior
that can be applied to the parameters of nearly any object. For more information, see
Audio Behaviors.
• Basic Motion behaviors are among the simplest behaviors. They animate specific
parameters of the object to which they are applied. Some Basic Motion behaviors affect
position while others affect scale or rotation. Examples include Fade In/Fade Out, Spin,
and Throw. All Basic Motion behaviors can be applied to images and clips, particle
emitters, shapes, text, and so on. Most of the Basic Motion behaviors can be applied
to cameras and lights. For more information, see Basic Motion Behaviors
• Camera behaviors are specifically designed to be applied to a camera in a 3D project
and create basic camera motions such as dolly moves, panning, and zooming. For more
information, see Camera Behaviors.
• Motion Tracking behaviors perform multiple tasks. Although all tracking behaviors
analyze the motion present in a clip, the application of that data varies depending on
the specific behavior. For example, the Stabilize behavior stabilizes movement in a clip
created by camera shake. The Match Move behavior analyzes the motion in an object
(such as a clip) and applies that motion to another object to integrate it with the tracking
source. For more information, see Motion Tracking Behaviors.
• A Parameter behavior can be applied to a specific parameter of any object (including
filters and behaviors) and the effect is limited to just that parameter. The same Parameter
behavior can be applied to different parameters, resulting in different effects. For
example, you can apply the Oscillate behavior to the opacity of text to make the letters
fade in and out, or you can apply the Oscillate behavior to the rotation of a shape to
make the shape rock back and forth. You can also apply Parameter behaviors to filter
parameters, generator parameters, the parameters of particle systems and replicators,
or even the parameters of other behaviors. Examples include Oscillate, Randomize, and
Reverse. Most Parameter behaviors can be applied to cameras and lights. For more
information, see Parameter Behaviors.
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• 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. For example, you can create an animation that travels over the replicator
pattern in which each cell goes from 0 percent opacity to 100 percent. For more
information, see Using the Sequence Replicator Behavior.
• Retiming behaviors are applied to footage and cloned layers (or groups) to create hold
frames, reverse the footage, change the speed of the footage, create strobe frames or
stutter, or scrub the footage. These behaviors are applied to the footage objects in the
Layers list. For more information, see Retiming Behaviors.
• Shape behaviors are specifically designed to be applied to a shape or mask. Shape
behaviors affect the individual vertices of a shape or mask. For example, applying the
Randomize behavior randomly animates the control points (or tangents, or both) on
the shape. For more information, see Shape Behaviors.
• Simulation 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. Other Simulation behaviors, such as Attractor and Repel, affect the
parameters of objects surrounding the object to which they’re applied. These behaviors
allow you to create some very sophisticated interactions among multiple objects in
your project with a minimum of adjustments. As with the Basic Motion behaviors,
Simulation behaviors also affect specific object parameters. Examples include Attractor,
Gravity, and Repel. Simulation behaviors can be applied to cameras and lights. For more
information, see Simulation Behaviors.
• Text behaviors animate text parameters to create various animated effects. Examples
include Type On, which reveals text letter by letter. For more information, see Text
Animation and Text Sequence Behaviors and Sequence Text Behavior.
For an introduction to using and applying behaviors, see Applying and Removing
Behaviors. For more detailed information on how to manipulate behaviors in a project,
see Working with Behaviors.
Note: Audio, Camera, Motion Tracking, Particles, Replicator, Shape, and Text behaviors
are discussed in their respective chapters.
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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. When you apply two or more keyframes
with different values to a parameter, you animate that parameter from the first keyframed
value to the last.
By design, behaviors are most useful for creating generalized, ongoing motion effects.
They’re also extremely useful for creating animated effects that might be too complex
or time-consuming to keyframe manually. Keyframing, in turn, might be more useful
for creating specific animated effects where the parameter you’re adjusting is required
to hit a specific value at a specific time. For more information on using keyframes, see
Keyframes and Curves.
The animation created by behaviors can be converted into keyframes. For more
information, see Converting Behaviors to Keyframes.
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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.
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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. For Simulation behaviors, the red gear graphic identifies the
object in a group with the applied selected behavior.
Applying and Removing Behaviors
Behaviors are applied to objects in one of the following ways:
• Dragging a behavior to an object in the Canvas, Layers list, or Timeline
To apply a behavior to an object in the Timeline, drag the behavior to the object in the
Timeline layers list or the Timeline track area.
Note: It is usually easier to drag a behavior to a camera or light in the Layers list or
Timeline than to such objects in the Canvas.
• Selecting an object, selecting a behavior in the Library, and then clicking the Apply
button in the preview area
• Selecting an object, and then choosing a behavior from the Add Behavior pop-up menu
in the toolbar
• Clicking the pop-up menu arrow at the right of a parameter's row in the Inspector, then
choosing a Parameter behavior from the menu
• Control-clicking a parameter of an object (including the parameters of other behaviors),
and choosing a Parameter behavior from the shortcut menu
Behaviors are removed by selecting the behavior in the Canvas, Layers list, Timeline, or
Inspector and pressing Delete. For detailed information about applying and removing
behaviors, see Applying Behaviors and Removing Behaviors.
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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.
New behaviors you apply to an object appear above behaviors applied previously.
Behaviors can be hidden from view in the Layers list using the Show/Hide Behaviors
button in the lower-right corner of the Layers list. For more information, see Hiding and
Showing Effects.
When any behavior is applied to an object in your project, a behavior icon (a gear) appears
in the row of the affected parameter in the Properties, Behaviors, or Filters Inspector. This
icon shows you that a behavior is influencing that parameter.
Animation Paths
When some behaviors are applied to an object, an animation path appears and displays
the projected path of the object over time. Consider this path a “preview” of the animation
created by the behavior. Unlike animation paths created using keyframes or the path
created by the Motion Path behavior, animation paths for behaviors cannot be edited.
To show or hide all types of paths, use the View pop-up menu above the Canvas.
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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.
Editable curve
Noneditable curve
Note: Use the pop-up menu above the Keyframe Editor to select which parameters are
displayed and to create curve sets. For more information on curve sets, see Custom
Parameter Sets.
For more information on combining behaviors and keyframes, see Combining Behaviors
with Keyframes.
Applying Behaviors
You can apply behaviors to objects in the Canvas, Layers list, or Timeline. Some behaviors
animate specific parameters of the layer to which they’re applied. For example, the Throw
behavior affects only an object’s Position parameter, and the Grow/Shrink behavior affects
only an object’s Scale parameter. Other behaviors animate the parameters of layers that
surround the layer to which the behavior is applied. For example, the Attractor behavior
causes other layers to move toward the affected layer by animating each of their Position
parameters.
Important: Text, Particles, Replicator, Audio, Shape, and Camera behaviors should only
be applied to their namesake objects.
Parameter behaviors can be applied to a parameter of an object (such as position). For
more information, see Applying Parameter Behaviors.
You can also apply behaviors to groups in the Layers list or Timeline. Depending on the
applied behavior, all objects nested in that group are affected in one of two ways: as if
they were a single object or as individual elements. You can often change this result by
adjusting the Affect or Affect Subobjects parameter in the Behaviors Inspector.
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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. The Affect Subobjects checkbox
only appears in the Inspector when the Throw and Spin behaviors, or the Simulation
behaviors, are applied to a group or object that contains multiple objects, such as a
particle emitter or text.
To apply a behavior to an object
Do one of the following:
µ
Drag a behavior from the Library to an appropriate object in the Canvas, Layers list, or
Timeline.
To apply a behavior to an object in the Timeline, drag the behavior to the object in the
Timeline layers list or the Timeline track area.
Note: It is usually easier to drag a behavior to a camera or light in the Layers list or Timeline
than to the object in the Canvas.
An advantage to applying behaviors from the Library is the ability to preview the animation
created by the behavior in the Library preview area.
µ
Select an object in the Canvas, Layers list, or Timeline, then select a behavior from the
Library stack and click Apply in the preview area.
Apply button
µ
Select an object in the Canvas, Layers list, or Timeline, then choose a behavior from the
Add Behavior pop-up menu in the toolbar.
To apply a behavior to multiple objects
1 Select all objects to apply the behavior to.
In the Layers list, Canvas, or Timeline, Shift-click to select a contiguous set of objects, or
Command-click to select individual, noncontiguous objects.
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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.
When a behavior is applied to an object, the object parameters affected by that behavior
are animated based on the behavior’s default settings. For example, if you apply the
Gravity behavior to an object in the Canvas, that object’s position is animated and it
moves down, according to the Gravity behavior’s default setting.
Default Behavior Duration
In most cases, a behavior’s duration is the Timeline duration of the object to which it is
applied. For example, if you apply a Spin behavior to an object that begins at frame 20
and ends at frame 300, the Spin behavior’s duration is also frame 20 to frame 300. For
information on trimming the duration of a behavior, see Trimming Behaviors.
Removing Behaviors
Because behaviors don’t add keyframes, removing a behavior instantly eliminates its
animated effect. All types of behaviors are removed in the same way.
To remove a behavior from an object
1 Select a behavior in the Layers list, Timeline, Behaviors Inspector, or pop-up menu in the
title bar of the HUD.
2 Do one of the following:
• Choose Edit > Delete.
• Control-click the behavior in the Layers list or Timeline, then choose Delete from the
shortcut menu.
• Press Delete.
Applying Parameter Behaviors
Although all behaviors affect parameters of the objects to which they’re applied, Parameter
behaviors are applied to specific parameters of your choosing.
This includes the parameters of filters, emitters and cells in particle systems, shapes, text,
and so on. You can even apply Parameter behaviors to the parameters of other behaviors
applied to an object.
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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. For example, if you apply the Randomize parameter behavior to a particle emitter’s
Position parameter, the emitter drifts randomly around the screen when the project plays.
Applying the Randomize parameter behavior to a shape’s Scale parameter makes the
shape randomly grow and shrink.
Important: Although you can apply a Parameter behavior to an object, the applied
behavior does not affect the object until you select a parameter to apply the Parameter
behavior to. A more direct way to apply a Parameter behavior is by using the shortcut
menu in the Inspector.
To apply a Parameter behavior to a specific parameter of an object
1 Select the object to apply the Parameter behavior to.
2 Do one of the following:
• Control-click a parameter’s name in the Inspector, choose Add Parameter Behavior,
then choose an item from the submenu.
• Click the parameter’s Animation menu, choose Add Parameter Behavior, then choose
an item from the submenu.
• Control-click a parameter in the HUD, choose Add Parameter Behavior from the shortcut
menu, then choose an item from the submenu.
• Control-click a parameter in the Keyframe Editor, then choose a Parameter behavior
from the shortcut menu.
When you apply a Parameter behavior, the Behaviors Inspector opens.
Note: Use the pop-up menu above the Keyframe Editor to choose the parameters you
want displayed in the Keyframe Editor. For more information, see Filtering the Parameter
List.
To apply a Parameter behavior to an object
1 Do one of the following:
• Drag a Parameter behavior from the Library to an appropriate object in the Canvas,
Layers list, or Timeline.
Note: It is usually easier to drag a behavior to a camera or light in the Layers list or
Timeline than to the object in the Canvas.
• Select an object in the Canvas, Layers list, or Timeline, open the Add Behavior pop-up
menu in the toolbar, then choose an item from the Parameter submenu.
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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.
Note: If you save a Parameter behavior as a favorite, the parameter assignment is saved
with the rest of that behavior’s settings. As a result, the saved behavior will affect the
same parameters of any object it is applied to.
Where Parameter Behaviors Appear
Like other behaviors, Parameter behaviors appear nested underneath the objects they’re
applied to in the Layers list and Timeline, along with any other behaviors applied to that
object.
Note: Although Parameter behaviors appear nested under objects in the Layers list, each
Parameter behavior is applied to a single parameter of an object, and not the object itself.
The Oscillate parameter behavior icon in the following screenshot includes an image
similar to a funnel. The funnel represents the “channeling” of individual parameters.
The same icon is used for the representation of Parameter behaviors in the Timeline.
Control-clicking a parameter’s name in the Inspector, or clicking the pop-up menu at the
right of a parameter opens the Animation menu. The Animation menu displays the names
of behaviors applied to that parameter. Choosing a behavior opens the Behaviors Inspector.
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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. This is possible using the Apply To pop-up menu, located at the bottom of
the Parameter behavior controls in the HUD or Behaviors Inspector.
The Apply To pop-up menu displays all properties available for the object the behavior
is applied to. If an object has other behaviors or filters applied to it, those parameters
also appear in submenus of the Apply To pop-up menu.
To reassign a Parameter behavior to another parameter in the HUD
1 In the Layers list, Timeline, or Behaviors Inspector, select the Parameter behavior to
reassign.
2 In the HUD, choose a new parameter from the Apply To pop-up menu.
The Parameter behavior is applied to the newly chosen parameter and the Apply To field
is updated to reflect the new assignment. In the Inspector, a behavior icon (a gear) now
appears next to the new parameter.
To reassign a Parameter behavior to another parameter in the Inspector
1 Select the object containing the Parameter behavior to reassign.
2 In the Behaviors Inspector, choose a new parameter from the Apply To pop-up menu.
Modifying Behaviors
Each behavior has a subset (or sometimes a complete set) of parameters that appear in
the HUD. In addition, all behavior parameters appear in the Behaviors Inspector.The HUD
and the Behaviors Inspector reference the same parameters, so changing a parameter in
one changes the same parameter in the other.
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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. For example, compare the controls for the Fade
In/Fade Out behavior in the Behaviors Inspector to those available in the HUD:
As you can see, the visual controls in the HUD consolidate two of the parameters available
in the Behaviors Inspector into a single, graphical control.
To display the HUD for a behavior
1 Do one of the following:
• Select the behavior to modify in the Layers list, Timeline, or Behaviors Inspector.
• Control-click an object in the Canvas, then choose a behavior from the Behaviors
submenu in the shortcut menu.
Note: If the HUD doesn’t appear, choose Window > Show HUD (or press F7 or D).
2 Make adjustments to the behavior using the controls in the HUD.
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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.
Modifying Parameters in the Behaviors Inspector
Unlike the HUD, the Behaviors Inspector displays all available parameters (some parameters
remain hidden depending on settings chosen for other parameters).
To display the Behaviors Inspector
1 Select an object with an applied behavior.
2 In the Inspector, open the Behaviors pane.
Applied behaviors appear within.
Modifying Multiple Identical Behaviors Simultaneously
In most cases, you can modify the parameters of most behaviors of the same type at the
same time.
Note: For simultaneous adjustment to work, the selected behaviors must be the same
(such as two Throw behaviors).
To edit multiple behaviors at the same time
1 In the Layers list or the Behaviors Inspector, Command-click to select the behaviors (of
the same type) to modify.
2 Do one of the following:
• In the HUD titled “Multiple Selected,” adjust the parameters.
• In the Behaviors Inspector, adjust the parameters.
Only behaviors that apply are available. When you adjust the parameters, all selected
behaviors are modified.
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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.
Although the Behaviors Inspector contains all editable parameters for a behavior that’s
been applied to an object, the Layers list and Timeline have several controls for each
behavior:
Activation checkbox: Turns each behavior on or off. Behaviors that are turned off have
no effect on the object to which they’re applied.
Name: Double-click this field to rename the behavior.
Lock: Click the lock icon to lock or unlock a behavior. You cannot modify the parameters
of a locked behavior.
Enable/disable behaviors
Lock
Activation checkbox
Enable/disable behaviors: A behavior icon (a gear) appears to the right of the name of
objects with applied behaviors. Clicking this icon turns all behaviors applied to the object
on and off.
Note: Control-clicking the behavior icon (the gear) opens a shortcut menu that displays
behaviors applied to that object. Choose a behavior from this menu to display it in the
Inspector.
Show/Hide Behaviors button: Located at the bottom of the Layers list and Timeline, this
button lets you show or hide all behaviors. This button neither enables nor disables
behaviors applied to objects in your project; it only controls their visibility.
Show/Hide
Behaviors button
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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.
2 Do one of the following:
• Choose Edit > Cut (or press Command-X) to remove the behavior and place it on the
Clipboard.
• Choose Edit > Copy (or press Command-C) to leave the behavior there and copy it to
the Clipboard.
To paste a behavior
1 Select an object.
2 Choose Edit > Paste (or press Command-V).
The cut or copied behavior is applied to the selected object, with all its parameter settings
intact.
You can also move a behavior from one object to another in the Layers list or Timeline
by dragging it to a new position.
µ
To transfer a behavior from one object to another
In the Layers list or Timeline, drag a behavior from one object and drop it on top of
another.
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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).
• Control-click the behavior to duplicate, then choose Duplicate from the shortcut menu.
You can also duplicate a behavior and apply the duplicate to another object in the Layers
list or Timeline.
µ
To drag a duplicate of a behavior to another object
Option-drag the behavior to the object to apply the duplicated behavior to.
The duplicated behavior is applied to the second object, and the original behavior is left
in its original location.
When you duplicate an object, you also duplicate all behaviors applied to it. This way, if
you’re creating a project with a number of objects that use the same behavior, you can
apply that behavior to the first instance of that object, and then duplicate that object as
many times as necessary.
Applying Multiple Behaviors to an Object
There is no limit to the number of behaviors you can add to an object. When multiple
behaviors are applied to a single object, they all work together to create a final animated
effect.
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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.
Behavior Order of Operations
When combining different behavior types (such as Parameter and Simulation behaviors),
or combining behaviors and keyframes, it is important to understand the behaviors’ order
of operations. Motion evaluates behaviors and keyframes in the following order:
Keyframes > Simulation behaviors > All other behaviors
Parameter behaviors are applied in the order in which they are added, from the bottom
of the Layers list up (like the order of filters and compositing order). For more information,
see Reordering Behaviors.
Important: The order of operation is always in effect—regardless of the order in which
the behaviors are applied or the keyframes are added to a layer or group.
Use the following guidelines for animating layers with multiple behaviors and/or keyframes:
• When you animate a layer with keyframes and then apply a behavior, the effect of the
keyframes is evaluated first.
For example, if you animate the Rotation parameter of a layer using keyframes and
then apply a Rotational Drag (Simulation) behavior to the layer, the Rotational Drag
behavior slows the rotation of the layer. Motion is evaluating the keyframed rotation,
and then applying the drag (from the Simulation behavior) to the keyframed animation.
• When you animate a layer with any behavior, and then add keyframes, the effect of
the keyframes is evaluated first.
For example, if you animate a layer so it rotates in a clockwise direction using the Spin
behavior and then keyframe the Rotation parameter so the layer rotates in a
counterclockwise direction, the layer rotates in the counterclockwise direction. Although
the keyframes are added to the project after the Spin behavior, Motion evaluates the
keyframes first.
• When you animate a layer with a Simulation behavior and then apply another behavior,
the effect of the Simulation behavior is evaluated first.
For example, if you animate a layer using the Gravity (Simulation) behavior and then
apply a Throw (Basic Motion) behavior, the layer moves downward as specified by the
Gravity behavior and in the direction specified in the Throw behavior. Motion is applying
the value of the Throw behavior to the value of the Gravity behavior, creating the end
result.
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• 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. Motion is
evaluating the Simulation behavior (Rotational Drag) before the Parameter behavior
(Oscillate), applying the drag to a 0 value. There is no data for the Simulation behavior
to affect.
Note: Although the Spin behavior appears in the Basic Motion category, Spin is treated
as a Simulation behavior in Motion’s order of operations.
For information on combining keyframes with behaviors, see Combining Behaviors with
Keyframes.
Reordering Behaviors
When you apply multiple behaviors to a single object, the behaviors appear nested
beneath that object in the Timeline and Layers list. All behaviors combine according to
a predetermined order of operations regardless of their order in the Layers list, so
reordering them has no effect on the resulting animations that are created, with a few
exceptions:
• The Stop behavior suspends the activity of all behaviors beneath it that affect the same
parameter. The Stop behavior has no effect on behaviors above it in the Layers list.
• Parameter behaviors are applied in the order that they are added, from the bottom to
the top in the Layers list, so you need to think about how you are building the operation.
For example, imagine a circle shape with an X Position of 50 in the Canvas. If you apply
a Rate Parameter behavior with a positive Rate value to the X Position of the circle, the
circle will move to the right from its starting X Position of 50. If you then apply a Negate
Parameter behavior to the circle’s X Position, the circle will start at –50 in the Canvas
and move to the left. The effect you see in the Canvas is the result of each behavior
acting upon the previously applied behavior: an X Position value of 50 is modified by
the Rate behavior (in a positive direction), which is in turn modified by the Negate
behavior, changing the X Position and rate to negative values.
If you swap the order of Rate and Negate in the Layers list, Negate is processed first.
The circle’s X Position value of 50 is turned into –50. This is then passed as the input
to Rate, which moves the circle in a positive direction. Now the circle begins at the –50
X Position in the Canvas, and moves to the right.
To reorder a behavior
1 Drag the behavior up or down in the list of nested behaviors applied to the same object.
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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. There are several ways to do this. You can use the Stop parameter behavior to
suspend a behavior’s effect on a single parameter. You can also trim each behavior in the
Timeline. Finally, for some behaviors, you can change the Start Offset parameter to delay
their beginning, and you can change the End Offset to stop the behaviors before the end
of their object duration in the Timeline. These behaviors include Fade In/Fade Out,
Grow/Shrink, and Snap Alignment to Motion.
Using the Stop Behavior
The easiest way to control behavior timing is to use the Stop behavior (in the Parameter
category). The Stop behavior halts the animation occurring in any one parameter, whether
the animation is based on keyframes in the Keyframe Editor or behaviors applied to that
object.
As explained in Applying Parameter Behaviors, all Parameter behaviors can be applied
to a parameter of an object (such as opacity or position) or to an object (such as text or
an image). If the behavior is applied to an object, you must assign a specific parameter
to the behavior (in the Behaviors Inspector).
To stop a parameter from animating
1 Move the playhead to the frame where you want animation to stop.
2 Select the affected object, then open the Properties Inspector.
3 Control-click the parameter to stop, choose Add Parameter Behavior from the shortcut
menu, then choose Stop.
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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).
4 To assign the Stop behavior to a different parameter, choose a new parameter from the
Apply To pop-up menu.
The Stop behavior halts the animation of all behaviors that affect the selected parameter
of that object. For example, if the Gravity, Edge Collision, and Rotate behaviors are applied
to a shape and you apply the Stop parameter to the shape layer’s Position parameter,
the shape stops moving but continues rotating.
To control when animation affecting that parameter is stopped, trim the Stop behavior
in the Timeline. For more information on trimming behaviors, see Trimming Behaviors.
For more information about applying Parameter behaviors, see Applying Parameter
Behaviors.
Trimming Behaviors
When you apply a behavior to an object, the duration of the behavior in the Timeline
defaults to the duration of the object to which it’s applied. However, a behavior can be
modified to limit the duration of its effect. For example, if you apply the Spin behavior
to a replicator layer, by default that replicator spins around for its entire duration. If you
trim the Out point of the Spin behavior, the spinning stops at the new position of the
Out point.
As you trim the behavior, a tooltip appears, indicating the new location of the Out point
as well as the new duration of the behavior.
To change the duration of a behavior in the Timeline
1 Move the pointer to the In or Out point of any behavior in the Timeline.
2 When the pointer changes to the trim pointer, do one of the following:
• Drag the In point to delay the beginning of the behavior’s effect.
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• 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. See Changing the Offset of Parameter
Behaviors for more information.
Note: The Simulation behaviors do not leave the object at the transformed state after
the last frame of the trimmed behavior. For more information, see Controlling Simulation
Behaviors.
Controlling Simulation Behaviors
The ideal use for behaviors (with the exception of Motion Tracking behaviors) is creating
fluid motion graphics that do not require specific timing. This is especially true with the
Simulation behavior group, which allows you to create some very sophisticated interactions
among multiple objects in your project with minimal editing.
Unlike Basic Motion behaviors, you cannot stop or change the motion of a Simulation
behavior in the Timeline. However, you can affect the rate of a Simulation behavior by
modifying its duration in the Timeline. You can also change the starting frame of the
behavior.
Because the Simulation behaviors simulate natural effects, such as Gravity, the laws of
inertia apply: an external force sets the object in motion, and that object stays in motion
even after the active force is no longer present. Changing the duration of a Timeline bar
for a Simulation behavior does stop the “active” force on the object but does not stop
the motion of the object. You can, of course, control Simulation behaviors by modifying
their parameters.
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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. Notice the change in the
shape of the animation path: At frame 190, where the Orbit Around behavior ends, the
object (the circle shape) stops moving around its target and continues moving off the
Canvas. The Orbit Around behavior—the active force—is no longer present, but the
motion of the circle does not stop.
Moving Behaviors in Time
In addition to changing a behavior’s duration, you can also move its position in the
Timeline relative to the object under which it’s nested. This lets you set the frame where
that behavior begins to take effect.
To move a behavior in the Timeline
1 Click anywhere in the middle of a behavior’s bar in the Timeline.
2 Drag the behavior to the left or right to move it to another position in the Timeline.
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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.
The Start Offset parameter has a slider that lets you delay the beginning of the behavior’s
effect, relative to the first frame of its position in the Timeline. You can adjust this
parameter to make the Parameter behavior start later.
The End Offset parameter lets you offset the end of the behavior’s effect relative to the
last frame of its position in the Timeline. Using this slider to stop the effect, instead of
trimming the end of the behavior in the Timeline, lets you freeze the behavior’s effect
on the object for its remaining duration.
The following example illustrates how to use the Start Offset and End Offset parameters
with the Ramp behavior.
To use the Start Offset and End Offset parameters
1 Select an object, such as a shape.
2 In the Properties Inspector, Control-click the Scale parameter, then choose Add Parameter
Behavior > Ramp from the shortcut menu.
The Ramp behavior is applied to the Scale parameter of the object, and the Behaviors
Inspector opens. The Ramp behavior lets you create a gradual transition in any animateable
parameter.
3 Set the Start Value to 0 and the End Value to 200, then play the project.
The object scales from its original scale to twice its original size over the duration of the
object.
4 Set the Start Offset to 90 and the End Offset to 90.
The object does not begin scaling until frame 90, and stops scaling 90 frames from its
last frame in the Timeline.
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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. For more
information, see Behavior Order of Operations.
For example, if you create an animation path using keyframes, you can create a completely
predictable and smooth movement.
However, if you apply the Randomize parameter behavior to the same object, its effect
combines with the motion path you created. As a result, the animation path follows the
general direction you want, with random variation in it to make it interesting.
Although this example shows how you can combine behaviors and keyframes to create
animation paths, you can combine behaviors and keyframes for any parameter.
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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. When you keyframe a parameter already affected by a behavior, the value of
the keyframed curve is combined with the value generated by the behavior at each frame,
which raises or lowers the resulting value displayed by the background curve. The
background curve doesn’t just display the behavior’s animated values, it displays the sum
of all values affecting that parameter.
Behavior effect curve
Editable curve
Raising or lowering a keyframe in the Keyframe Editor also raises or lowers the background
curve, because the keyframe is modifying the values generated by the behavior.
Important: The value displayed in the Inspector for the affected parameter reflects the
combined result of keyframes and behaviors applied to that parameter. Editing a
parameter’s values in the Inspector only results in changes made to the underlying
parameter value, whether keyframed or not. This parameter value is then combined with
the behavior’s effect, yielding a final value that might differ from the value you entered.
For more information on how to use keyframes in the Keyframe Editor, see Keyframes
and Curves.
Important: When you combine keyframes with multiple behaviors, the results can appear
to be unpredictable, depending on the combination of behaviors applied.
You can convert the behaviors that are applied to all parameters of an object into
keyframes. Converting behaviors that have been combined with keyframes turns the sum
of all behaviors and keyframes affecting that parameter into a thinned series of keyframes
(a curve with fewer keyframes). This results in a final animation curve that closely replicates
the shape of the background curve that appeared in the Keyframe Editor. These keyframes
can then be edited in the Keyframe Editor.
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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.
You can animate behavior parameters using Parameter behaviors, or by keyframing them
in the Keyframe Editor.
Applying Parameter Behaviors to a Behavior
You can animate a behavior’s parameter by applying a Parameter behavior. For example,
you can apply the Oscillate parameter behavior to the Drag parameter of the Orbit Around
behavior, then adjust the Start and End values to increase from 0 to 8 over time. This
results in the orbit of the object slowly decaying, causing the object to fall toward the
center of the orbit.
Orbit Around behavior
Orbit Around behavior with an Oscillate
parameter behavior applied to its
Drag parameter
For more information about adding Parameter behaviors, see Applying Parameter
Behaviors.
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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.
Converting Behaviors to Keyframes
Behaviors are best suited for fluid effects in which precise timing is not necessary. However,
there might be projects in which you want finite control over the animated effects created
with behaviors. If necessary, several of the behaviors can be baked into keyframes. This
means that the animation curves created by the behaviors (which have no keyframes)
can be converted into keyframed animation curves. You can then modify the keyframes
in the Keyframe Editor to meet more precise timing requirements.
Because many (though not all) behaviors affect shared object parameters, when you
convert a behavior to keyframes, all behaviors applied to the same object are also
converted into keyframes. The keyframes are applied to the individual parameters that
the behaviors originally affected. For example, the Gravity and Throw behaviors affect
Position, so you can’t convert the Gravity behavior to keyframes without affecting the
Throw behavior. When behaviors applied to other objects affect the object being converted
(for example, the Attractor or Repel behavior), their effect is baked into the object’s
resulting keyframes value. The original behaviors remain applied to the other objects,
but the resulting effect is not doubled up as a result of the keyframes combining with
the behavior.
Note: You cannot convert many of the Simulation, Replicator, Particle, or Text behaviors
into keyframes. Simulation behaviors such as Vortex can affect the parameters of all
objects in a project, and baking such a behavior would create an overwhelming amount
of keyframes. Such behaviors are designed to create very complex motion that would be
too time-consuming to keyframe manually.
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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).
A dialog prompts you to confirm the conversion to keyframes.
3 Click Convert.
All behaviors are converted into keyframes, which appear in the Keyframe Editor. The
entire animation of the object is converted into keyframes, even if some of the behaviors
fall outside of the object’s time range.
Note: You cannot selectively convert individual behaviors. The Convert to Keyframes
command converts all behaviors applied to an object.
Saving and Sharing Custom Behaviors
You can save any object in Motion to the Library, including cameras, lights, customized
filters and behaviors, groups, and layers (customized particle systems, replicators, shapes,
and text). Objects animated with behaviors or keyframes can also be saved to the Library
and retain their animation when applied to another project.
Customized behaviors can be saved in an existing folder in the Library, such as the
Favorites category, or you can create a folder in an existing category. After you save it to
the Library, the behavior can be added to a project like any other object in the Library.
Behaviors saved in the Library appear with a custom icon.
Note: Items saved to the Library appear in the Finder with a .molo extension (“Motion
Library object“). These items cannot be opened from the Finder.
You can save multiple objects to the Library as one file or multiple files. For example, if
you create an animation that uses multiple behaviors and you want to save the cumulative
effect of those behaviors, you can save them all as one item in the Library.
Although you can save custom behaviors into the Behaviors category, it is generally
recommended that you save items that you use frequently in the Favorites category;
some Motion Library categories contain so many items that using the Favorites or Favorites
Menu category might save you search time. In the Favorites category, you can create
additional folders to assist you in better arranging your custom items.
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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.
To save a behavior to the Library
1 Open the Library and select the Favorites, Favorites Menu, or Behaviors category.
2 Drag the customized behavior to save from the Layers list, Timeline, or Inspector into the
stack at the bottom of the Library.
When you save a customized behavior, it is saved in the
/Users/username/Library/Application Support/Motion/Library/ folder.
Note: If a custom behavior is dragged to another subcategory, such as the Glow (Filters)
subcategory, it is placed in the Behaviors category and the Behaviors category becomes
active.
To save multiple behaviors to the Library
1 Open the Library and select the Favorites, Favorites Menu, or Behaviors category.
2 In the Layers list, select all behaviors to save and drag them to the stack, holding down
the mouse button until a drop menu appears.
3 Choose “All in one file” or “Multiple files” from the drop menu, then release the mouse
button.
“All in one file” saves behaviors together. They are listed as one item in the Library.
“Multiple files” saves the behaviors as individual objects in the Library.
4 To name the file or files, do one of the following:
• Control-click the icon, choose Rename from the shortcut menu, then enter a descriptive
name.
• Select the icon, click “Untitled,” then enter a 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.
To create a folder in the Behaviors, Favorites, or Favorites Menu category
1 Open the Library and select the Behaviors, Favorites, or Favorites Menu category.
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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.
To create a folder in a Behaviors subcategory
1 Open the Library and select a Behaviors subcategory, such as Basic Motion.
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.
The new untitled folder appears in the Library stack. The new folder does not appear
in the Library sidebar.
3 With the new folder selected, click the name, enter a new name, then press Return.
µ
To move a behavior to a custom folder in the Behaviors category
Drag the behavior to the new folder in the Library sidebar.
The custom preset is added to the new folder and to the All subcategory.
µ
To move a behavior to a custom folder in a Behaviors subcategory
Drag the behavior to the new folder in the Behaviors subcategory in the Library stack.
The custom preset is added to the new folder and to the All subcategory.
Deleting Custom Behaviors
Custom behaviors can easily deleted from your system, if necessary.
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To delete a custom behavior
In the Library stack, Control-click the custom behavior, then choose Move to Trash from
the shortcut menu.
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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.
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To delete a custom folder from a category in the Library sidebar
In the Finder, navigate to the /Users/username/Library/Application Support/Motion/Library/
folder, Control-click the folder, then choose Move to Trash from the shortcut menu.
Moving Behaviors to Another Computer
Each customized behavior you drag into the Motion Library is saved as a separate file in
the /Users/username/Library/Application Support/Motion/Library/ folder on your computer.
For example, a saved custom behavior named My Motion Path in the Favorites folder of
the Library appears in the /Users/username/Library/Application
Support/Motion/Library/Favorites/ 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.
If you’ve created custom behaviors that you rely on, you can move them to other
computers that have Motion installed.
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To copy a custom behavior to another computer
Copy Motion custom preset files to that computer’s /Users/username/Library/Application
Support/Motion/Library/ folder.
Basic Motion Behaviors
Basic Motion behaviors animate specific parameters of the object to which they are
applied. Some affect position, while others affect scale, rotation, or opacity.
Warning: Building consecutive Basic Motion behaviors or placing such a behavior before
or after the Camera Framing behavior can create unexpected results. These behaviors
can continue to affect the object even after the behavior ends, thus influencing the
subsequent behavior’s animation path. For example, if a Framing behavior is applied
after a Motion Path behavior, the residual effect of the Motion Path behavior is combined
with the animation path generated by the Framing behavior. Consequently, the target
object might be framed improperly.
The following sections cover the Basic Motion behaviors:
• Fade In/Fade Out
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• 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. This means that the Fade In and Fade Out parameters
are multiplied by the object’s current opacity to produce the resulting level of transparency.
The Fade In/Fade Out behavior is useful for introducing and removing elements you’re
animating in a project. For example, you can apply the Fade In/Fade Out behavior to text
that moves across the screen to make it fade into existence, and then fade away at the
end of its duration.
Note: Fade In/Fade Out behavior cannot be applied to a camera or light.
Parameters in the Inspector
Fade In Time: A slider defining the duration, in frames, over which the object fades in
from 0 to 100 percent opacity from the first frame of the object. A duration of 0 frames
results in a straight cut into the object, making it appear instantly.
Fade Out Time: A slider defining the duration, in frames, over which the object fades
out from 100 to 0 percent opacity from the last frame of the object. A duration of 0 frames
results in a straight cutaway from the object, making it disappear instantly.
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 value 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. Use this slider to
offset the end of the Fade Out effect from the end of the object.
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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.
Fade in
Fade out
Grow/Shrink
Use the Grow/Shrink behavior to animate the scale of an object, enlarging or reducing
its size over time at a speed defined by the Scale Rate or Scale To parameter. The
Grow/Shrink effect begins at the object’s original size at the first frame of the behavior.
Note: The Grow/Shrink behavior cannot be applied to cameras or lights.
Tip: To scale particles over their lifetime, use the Scale Over Life particle behavior. For
more information, see Using Particles Behaviors.
Note: The vertical and horizontal growth rates can be set to independent values, for
asymmetrical effects.
The Grow/Shrink behavior is a good one to use with high-resolution graphics to zoom
into an image, such as a map or photograph. You can also combine this behavior with
the Throw or Wind behavior to pan across the image while zooming into it.
The Grow/Shrink behavior can also be used to emphasize or de-emphasize images in
your project. You can enlarge objects to make them the center of attention, or shrink an
object while introducing another to move the viewer’s eye to the new element.
Parameters in the Inspector
Increment: This pop-up menu lets you choose how the behavior’s effect progresses over
its duration in the Timeline. There are three options:
• Continuous Rate: This option uses the Scale Rate parameter to grow or shrink the object
by a steady number of pixels per second.
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• 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.
Scale Rate/Scale To: Depending on the command chosen in the Increment pop-up menu,
the Scale Rate or Scale To parameter defines the speed and magnitude of the effect. This
parameter can be expanded to reveal X and Y subparameters by clicking the disclosure
triangle to the left. This lets you adjust the horizontal or vertical scale independently.
Curvature: This parameter lets you adjust the acceleration with which this behavior
transitions from the original to the final size. Higher Curvature values result in an easing
into and out of the effect, where the object slowly starts to change size, and this change
gradually speeds up as the behavior continues. Because Curvature is defined by the length
of the behavior in the Timeline, minus the End Offset, it does not affect the overall duration
of the effect
Note: The Curvature parameter is not available when the Increment parameter is set to
Natural Scale.
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. Use this slider to
offset the end of the Grow/Shrink effect from the end of the object.
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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.
Scale To parameter
Original size
Zoom level of HUD
Motion Path
The Motion Path behavior lets you create a 2D or 3D motion path for an object to follow.
When you first apply the Motion Path behavior, it defaults to an open spline—a straight
line defined by two points at the beginning and end of the motion path. You can also
choose from preset path shapes, such as a closed spline, loop, rectangle, or wave, or use
a shape to define a path. A shape used as the source for a motion path can be animated.
You can modify the motion path in 3D space so an object travels on the path along the
path’s X, Y, and Z axes. For more information, see Adjusting a Motion Path in 3D Space.
The first point on the path is the position of the object in the Canvas at the first frame of
the behavior. Option-click anywhere on the path to add Bezier points, which allow you
to reshape the motion path by creating curves.
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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. Speed is also affected
by the Speed parameter, which lets you modify the object’s velocity—adding acceleration
and deceleration at the beginning and end of the behavior, for example. You can also
create a custom preset defining how the object travels along the path.
Note: When you switch between the Path Shape options, the Inspector and the HUD
display parameters specific to the selected option.
The Motion Path behavior is an easy way to create predictable motion without using the
Keyframe Editor. It’s also a great way to create reusable motion paths that you can save
in the Library for future use.
When the Motion Path behavior is added to an object, the Adjust Item tool is selected,
allowing you to modify the default path in the Canvas by adding points and using the
Bezier (or B-Spline) controls attached to each point to adjust each curve. You can also
move and resize preset motion path shapes, such as a rectangle or wave, in the Canvas.
Parameters in the Inspector
Path Shape: A pop-up menu that lets you define the shape of the path on which the
object travels.
• Open Spline: The default shape, a straight path defined by two points at the beginning
and end of the path. You can choose to work with Bezier or B-Spline control points.
Option-click (or double-click) anywhere on the path to add points.
• Closed Spline: A closed path in which the last point is in the same location as the first
point. You can choose to work with Bezier or B-Spline control points. Option-click (or
double-click) anywhere on the path to add points.
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• 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.
• Wave: A wavy path (a sine wave) defined by two points, one at the beginning and one
at the end of the path, and controlled by the End Point, Amplitude, Frequency, Phase,
and Damping parameters.
• Geometry: The object travels along the edge of a shape or mask used as the source for
the path. In the following figure, the outline of the shape on the left is used as the
motion path in the composition shown on the right.
Note: The Path Shape parameters work similarly to text on a path. For more information
about working with text on a path, see Working with Text on a Path.
Shape Type: When Path Shape is set to Open Spline or Closed Spline, this pop-up menu
allows you to choose one of two ways to manipulate the shape of the path: Bezier or
B-Spline.
• Bezier: Lets you manipulate the keyframe curve manually by dragging the handles.
Note: For more information about creating and adjusting Bezier curves, see Editing
Bezier Control Points.
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• 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.
Note: For more information about working with B-Spline curves, see Editing B-Spline
Control Points.
Radius: When Circle is the defined path shape, this slider allows you to change the size
of the circular path. Click the disclosure triangle to individually adjust the X radius and Y
radius.
Note: When the Motion Path behavior is selected, you can also use the onscreen control
points to resize the circle. Press Shift to resize the X and Y radii uniformly.
Size: When Rectangle is the defined path shape, this slider allows you to change the size
of the rectangular path. Click the disclosure triangle to individually adjust the X scale and
Y scale.
Note: When the Motion Path behavior is selected, you can also use the onscreen control
points to resize the rectangle. Press Shift to resize the X and Y scales uniformly.
Offset: When Circle, Rectangle, or Geometry is the defined path shape, this slider lets
you specify where the object starts moving on the path.
End Points: When Wave is the defined path shape, this control sets the location of two
default points on the wave’s path. The end points can also be adjusted using the wave’s
onscreen controls (active by default when the Motion Path behavior is selected). Moving
the left end point moves the entire path; moving the right end point lengthens, shortens,
or angles the path.
Amplitude: When Wave is the defined path shape, this slider defines half the distance
from the highest point to the lowest point in the wave. Higher values result in more
extreme waves.
Frequency: When Wave is the defined path shape, this slider sets the number of waves.
Higher values result in more waves.
Phase: When Wave is the defined path shape, this dial defines the degrees of the offset
of the waves from the start and end points of the path. When set to 0 degrees (default),
the wave begins and ends at half the distance from the highest point to the lowest point
in the wave. When set to 90 degrees, the wave begins and ends at the highest point in
the wave. When set to –90 degrees, the wave begins at the lowest point in the wave.
When set to 180 degrees, the waves are the same as 0 degrees, but inverted.
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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. When
disabled, the motion path can exist in a location other than its source shape.
Note: When Attach to Shape is on, you cannot move the object to another location.
Tip: To align the rotation of an object to match all changes made to its position along
an animation path, apply the Snap Alignment to Motion behavior. For more information,
see Snap Alignment to Motion.
Shape Source: When Geometry is the defined path shape, this image well defines the
object (shape or mask) to use as the motion path source.
• To: This pop-up menu, located to the right of the Shape Source image well, displays a
list of all objects in the current project that can be used as a shape source for the motion
path.
Direction: A pop-up menu that defines the object’s direction over the path. There are
two options:
• Forward: The object moves in a forward direction along the path (from the start point
to the end point, depending upon the Offset parameter).
• Reverse: The object moves in a backward direction along the path (from the end point
to the start point, depending upon the Offset parameter).
Note: The Offset parameter is available when Path Shape is set to Circle or Rectangle.
Speed: A pop-up menu that defines the object’s velocity from the first to the last point
in the motion path. There are eight choices:
• Constant: The object moves at a steady speed from the first to the last point on the
motion path.
• Ease In: The object starts at a slow speed, then reaches and maintains a steady speed
through the last point on the motion path.
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• 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.
• Natural: The speed in which the object moves over the path is determined by the
shape of the path. For example, if the path is a U-shape curve, the object moves faster
as it moves toward the low point of the U and slower as it moves up the edges.
• Custom: Custom allows you to define the movement of the object along its path by
setting keyframes for the object’s speed from 0 to 100 percent. In other words, you
determine the position of the object along the 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. You can keyframe
custom values to make an object, for example, travel forward to a specific percentage of
the path, then backward, then forward, and so on before it reaches the end of the
animation.
Apply Speed: When the Loops parameter is set to a value greater than 1, this pop-up
menu determines how the Speed parameter (velocity) is applied over the duration of the
behavior.
Note: Loops must be set to a value greater than 1 for the Apply Speed parameter to have
any effect.
• Once Per Loop: The velocity, as defined by the Speed parameter, is applied to each
cycle. For example, if Loops is set to 3 and Speed is set to Accelerate, the object
accelerates each time it travels over the path. The speed is applied to the entire duration,
ignoring the Loops setting.
• Over Entire Duration: The velocity, as defined by the Speed parameter, is applied one
time over the duration of the behavior. For example, if Loops is set to 3 and Speed is
set to Accelerate, the object accelerates the first time it travels over the path, but not
the second and third time.
Loops: Determines the number of times the object travels the motion path over the
duration of the behavior. For an object to travel its path more than once, or to “ping
pong,” Loops must be set to a value greater than 1.
End Condition: A pop-up menu that defines the behavior of the object after it reaches
the end of its motion path. There are two options:
• Repeat: The object travels the motion path the number of times defined by the Loop
parameter.
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• 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.
Note: You cannot apply Parameter behaviors to the control points.
HUD Controls
In the HUD, the following controls are always available: Path Shape, Shape Type, Direction,
Speed, Custom Speed, Apply Speed (sets the number of times the object travels the path
over the object’s duration), and End Condition. Other parameters become available
depending on what is selected from the Path Shape parameter.
Related Behaviors
• Gravity
• Random Motion
• Throw
• Wind
Motion Path Tasks
The following tasks show you how to customize the Motion Path behavior.
Distancing the Object from the Motion Path
By default, the object is locked to the motion path by its anchor point.
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To distance the object from the path
Select the Anchor Point tool from the toolbar and move the anchor point in the Canvas.
For more information on using the Anchor Point tool, see Using the Anchor Point Tool.
Note: A separate Offset parameter allows you to offset the starting location of the object
on the motion path (but does not offset the object from the path).
Moving the Object and Its Motion Path
Moving an object moves the object’s related motion path.
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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. This includes animated transforms (a shape changing its location in
the Canvas) and animated control points (a shape changing its shape due to keyframed
control points).
To use geometry for a motion path shape
1 Import (or draw) the shape to use as the path source.
2 Choose Geometry from the Path Shape pop-up menu.
The Shape Source well appears in the Inspector and HUD.
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 motion path.
Note: You might want to disable the source shape in the Layers list so the source shape
is not visible in your project.
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To select another geometry source for a motion path shape
Choose the object to use as the motion path’s shape source from the To pop-up menu
(located next to the Shape Source image well).
Note: To align the rotation of the object to the shape of its motion path, you can apply
the Snap Alignment to Motion behavior (in the Basic Motion behaviors subcategory).
To use the Custom Speed parameter
1 In the Inspector or HUD, choose Custom from the Speed pop-up menu.
The Custom Speed parameter becomes available. By default, a keyframe is set at the first
and last points of the behavior to create an animation of 0 percent to 100 percent, where
at 0 the object is at the beginning of the path, and at 100 the object is at the end of the
path. This is the same velocity used with the Constant preset.
2 Enable Record (press A).
Note: When Record is enabled, all keyframeable parameter value fields are tinted. This is
to remind you that any value change entered in this state creates a keyframe.
3 Move the playhead to the position where you want to create a keyframe, then enter a
value in the Custom Speed field.
For example, a value of 90 moves the object 90 percent of the way through the motion
path.
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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.
To adjust a motion path in 3D space
1 If there is no camera in your project, add a camera by doing one of the following:
• Click the New Camera button in the toolbar.
• Choose Object > New Camera (or press Command-Option-C).
Note: If none of your project groups are set to 3D, a dialog appears asking if you want
to switch your 2D groups to 3D groups. Click Switch to 3D to allow the camera to affect
the groups.
2 Do one of the following:
• Choose a camera view from the Camera pop-up menu in the upper-left corner of the
Canvas (the default option is Active Camera). This example uses the Top view.
• With the Active Camera (or other) view selected, use the Orbit tool (the center tool in
3D View tools in the upper-right corner of the Canvas) to rotate the camera.
Note: If you use the 3D View tools with any camera selected, you are moving the
camera, not just changing the camera view.
Depending on the camera view, the object on the path might not be visible. For
example, if the object has not been rotated in X or Y space and you are working in Top
view, the camera is looking down perpendicularly (on the Y axis) on the object. The
motion path and its points are still visible (as long as the Motion Path behavior is
selected).
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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.
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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.
• If you chose (and/or modified) a default camera view (such as Top, Right, Left, and so
on), choose Active Camera from the Camera menu, or choose View > 3D View > Active
Camera.
• With the camera selected, click the reset button in the Properties Inspector.
Move
The Move behavior places a point in the Canvas that creates a specific location for an
object or group to move toward or away from in a straight line.
In the following illustration, an Orbit Around behavior is applied to the airplane shape.
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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. For example, when applied to a
group that contains objects offset in Z space, you can create a dolly-like move.
Parameters in the Inspector
Position: Value fields that allow you to define the X, Y, and Z position of the target point.
The target (the end of the Move path) is placed at the center of the Canvas by default.
Note: The Move behavior and the Adjust Item tool must be selected to move the target
corresponding to the Position parameter. Use the Select/Transform tool to move the
object.
Strength: A slider defining the speed at which the object moves toward the target. With
a value of 0, the object doesn’t move at all. The higher the value, the faster the object
moves.
Direction: A pop-up menu that sets whether the object moves toward the target point
or away from the point.
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.
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• 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.
HUD Controls
The HUD has a slider that sets the influence amount (Strength), a Direction pop-up menu
that defines whether the object moves toward the null point or away from the point, and
a Speed pop-up menu that allows you to define the object’s velocity.
Point At
When the Point At behavior is applied to an object or group, you can specify a target
point for the affected object to turn toward.
Tip: Use the Point To behavior with the Move To behavior to created animated objects
that not only move toward a point (or each other), but that turn in the direction of the
target.
Parameters in the Inspector
Object: An image well that defines the target object. To set the target object, drag the
object from the Layers list to the Object well in the Point At HUD or Inspector. You can
also drag the target object from the Layers list onto the Point At behavior.
Transition: This slider determines how long it takes for the object to go from its starting
orientation to pointing at the center of the target object. This parameter is useful when
the object is pointing at a moving target object.
If Transition is set to 50% in a 300-frame project, and the target object is not moving, the
point-at object takes 150 frames to point at (or orient to) the center of the target object
and then stops moving for the duration of the behavior. If Transition is set to 100%, the
point-at object takes the full 300 frames to point at the target object. If the Point At
behavior’s duration is 100 frames, and Transition is set to 50%, the point-at object takes
50 frames to orient to the target object.
If Transition is set to 50% in a 300-frame project, and the target object is animated, the
point-at object takes 150 frames to point at (or orient to) the center of the target object
and then continues following the animated target object for the duration of the behavior.
If Transition is set to 100%, the point-at object takes the full 300 frames to point at the
target object.
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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.
• 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.
Axis: A pop-up menu that lets you align the rotation of the object to the X, Y, or Z axis.
The default axis is Z. This parameter specifies which axis points at the target after the
movement is complete.
Invert Axis: If the object is aligning on the correct axis, but appears backwards, this
checkbox flips the object so it faces the proper direction.
HUD Controls
The HUD has an Object well, a Transition slider, a Speed pop-up menu that allows you
to define the object’s velocity, an Axis pop-up menu to choose which axis should point
at the target after the movement is complete, and an Invert Axis checkbox.
Snap Alignment to Motion
This behavior aligns the rotation of an object to match all changes made to its position
along an animation path. This behavior is meant to be combined with behaviors that
animate the position of an object, or with a keyframed animation path you create yourself.
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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.
Parameters in the Inspector
Rotation Axis: A pop-up menu that lets you rotate the object around the X, Y, or Z axis.
You can also choose All to rotate the object around all three axes. The default rotation
axis is Z. All uses the acceleration direction as “up,” like a roller coaster.
Axis: A pop-up menu that lets you specify whether the object aligns to its horizontal or
vertical axis.
Invert Axis: If the object is aligning on the correct axis, but appears backwards, this
checkbox flips the object so it faces the proper direction.
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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.
HUD Controls
The HUD has a pop-up menu to control the axis around which the object is rotated, a
pop-up menu to control the axis used to adjust the object’s alignment, and a checkbox
to let you invert the axis.
Related Behaviors
• Align To Motion
Spin
Apply the Spin behavior to animate the rotation of an object, spinning it around a single
axis. Using the Custom axis controls, the rotation does not have to occur on a principle
axis (X, Y, or Z). If you trim the end of the Spin behavior to be shorter than the duration
of the object to which it is applied, it remains at the angle of the last frame of the behavior,
as long as there are no other behaviors or keyframes affecting that object’s Rotation
parameter.
Uses for Spin are fairly obvious, but another way to use the Spin behavior is with objects
that have an off-center anchor point. Because objects rotate around the anchor point, if
you change an object’s anchor point before you apply a Spin behavior to it, you can
change the look of the motion you create. For more information on changing an object’s
anchor point, see Using the Anchor Point Tool.
Note: Although the Spin behavior appears in the Basic Motion category, Spin is treated
as a Simulation behavior in Motion’s order of operations. For more information, see
Behavior Order of Operations.
Parameters in the Inspector
Affect Subobjects: This parameter appears when Spin is applied to an object that contains
multiple objects, such as a group, particle emitter, or text. When this checkbox is selected,
each object in the layer or group rotates as an individual object. When this checkbox is
deselected, the entire layer or group spins.
Increment: This pop-up menu lets you choose how the behavior’s effect progresses over
its duration in the Timeline. There are two choices:
• Continuous Rate: Uses the Spin Rate parameter to spin the object by a steady number
of degrees per second.
• Ramp to Final Value: Spins the object for the number of degrees specified in the Spin
To parameter over the behavior’s duration in the Timeline.
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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. You can also choose Custom, which yields additional Longitude and Latitude
parameters. The following illustration shows the Spin behavior’s HUD control set to the
Z axis.
When Axis is set to Custom, additional Longitude and Latitude parameters become
available. These parameters allow the object to spin at an angle (not locked to the X, Y,
or Z axes). If you’re working on an object in a 3D group, you can also drag the axis control
in any direction to simultaneously modify the longitude and latitude of spin, as seen in
the following illustration.
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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. Adjust the length of the arrow to change the speed at which the spinning
occurs—drag around multiple times to increase the rate of the spin.
The inner arrow controls the axis about which the object or group spins. When you drag
the inner controls, a globe control becomes available that allows you to adjust the object’s
spin in degrees longitude and latitude.
Note: You can spin the arrow around the ring multiple times to rotate the object more
quickly.
Controls direction
and speed of spin
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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. When used in conjunction with other behaviors such as
Grow/Shrink and Fade In/Fade Out, you can create sophisticated moving elements without
keyframing a single parameter.
The Throw behavior is also useful when you’re moving an object through a simulation.
For example, you might move the object past other objects that have Attractor or Repel
behaviors applied to them. Because the Throw behavior only applies a single force to
move the target object at the initial frame of the behavior, any other behaviors that
interact with the target object have potentially greater influence over its motion.
Important: The Throw behavior does not apply a continuous force, nor can you create
changes in direction or speed, because Throw cannot be keyframed. To create keyframed
changes in direction or speed, use the Wind behavior. To create a more complex animation
path, use the Motion Path behavior.
Parameters in the Inspector
Affect Subobjects: This parameter appears when Throw is applied to an object that
contains multiple objects, such as a group, particle emitter, or text. When this checkbox
is selected, each object within a parent object moves as an individual object. When this
checkbox is deselected, the entire layer or group moves as a whole.
Increment: This pop-up menu lets you choose how the behavior’s effect progresses over
its duration in the Timeline. There are two choices:
• Continuous Rate: Sets the speed of the object at a steady number of pixels per second,
specified in the Throw Velocity parameter.
Note: If the Canvas is displaying a nonsquare pixel image, the vertical rate is in pixels
per second, and the horizontal rate is the perceptual equivalent.
• Ramp to Final Value: Moves the object from its original position to the specified distance
(in pixels) in the Throw Distance parameter.
Throw Velocity/Throw Distance: When the Increment pop-up menu is set to Continuous
Rate, the Throw Velocity parameter appears, which lets you set a continuous speed for
the object to move in X, Y, or Z space. When the Increment pop-up menu is set to Ramp
to Final Value, the Throw Distance parameter appears, which sets a total distance (in
pixels) for the object to travel in X, Y, and Z space over its duration. The slider is limited
to 100 pixels. Use the value field to enter values greater than 100.
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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.
Controls direction
and speed of throw
Adjusts the scale of
the direction control,
affecting speed
When you click the 3D button, additional 3D controls become available. The center arrow
now defines the direction the object is thrown in 3D space (X, Y, and Z axes). The Speed
slider (on the left side of the HUD) lets you increase or decrease the velocity of the thrown
object.
Adjusts direction in X, Y,
and Z space
Adjusts velocity of throw
In the 2D and 3D Throw HUDs, press the Shift key while dragging the arrow to constrain
it to 45 degree angles. In the 2D HUD, press the Command key to change the arrow’s
direction without affecting its length.
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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. For example, you can apply the Oscillate
behavior to the opacity of an object to make it fade in and out, or you can apply it to the
rotation of an object to make it rock back and forth. You can also apply Parameter
behaviors to filter parameters, generator parameters, the parameters of particle systems,
or even the parameters of other behaviors. Examples include Oscillate, Randomize, and
Reverse.
For more information on applying Parameter behaviors, see Applying Parameter Behaviors.
The following sections cover the Parameter behaviors:
• Audio
• Average
• Clamp
• Custom
• Exponential
• Link
• Logarithmic
• MIDI
• Negate
• Oscillate
• Quantize
• Ramp
• Randomize
• Rate
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• 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.
Average
This behavior smoothes the transition from one value to another caused by keyframes
and behaviors applied to a parameter. Use the Average behavior to smooth out animated
effects. Averaged motion moves more fluidly, while averaged changes to parameters
such as Opacity and to filter parameters appear to happen more gradually. Use the
Window Size parameter to adjust the amount by which to smooth the affected parameter.
Tip: The Average behavior can be used to smooth out the sequence of values generated
by a Randomize behavior.
Parameters in the Inspector
Window Size: A slider lets you adjust the amount of smoothing to apply to the affected
parameter by specifying the number of adjacent frames to average together. Higher
values apply more smoothing by averaging a wider range of values, resulting in more
fluid animation. Lower values average a narrower range of values and apply less smoothing
with values closer to the original.
Apply To: The Apply To pop-up menu shows the parameter affected and can be used
to reassign the behavior to another parameter.
HUD Controls
The HUD lets you adjust the Window Size parameter and change the parameter
assignment.
Related Behaviors
• Negate
• Reverse
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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. The
result is that the animation path is “clamped,” because the image can travel up to 230
pixels to the right but does not move left past the 0 point, creating a half-circle animation.
The circle motion path is essentially cut in half. If a negative value is entered in the Min
value field, the image moves past the 0 point.
Parameters in the Inspector
Clamp At: A pop-up menu in which you choose the option to clamp parameter values
at only the minimum, only the maximum, or both minimum and maximum.
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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.
Apply To: The Apply To pop-up menu shows the parameter affected and can be used
to reassign the behavior to another parameter.
HUD Controls
The HUD lets you set the clamp to Min, Max, or Min and Max values, and also to change
the parameter assignment.
Related Behaviors
• Quantize
Custom
The Custom behavior allows you to make your own behaviors by creating a set of
parameters, then keyframing them to create the type of animation you want to apply to
an object. By saving custom behaviors you create in the Library, you can create your own
collection of behaviors to suit your needs.
You apply the Custom behavior like any other non-Parameter behavior in Motion: by
dragging it from the Library onto an object in the Canvas or Layers list, or by selecting
an object in the Canvas or Layers list, then choosing Custom from the Add Behavior
pop-up menu.
Note: Although the Custom behavior is a Parameter behavior, it does not appear in the
shortcut menu when you Control-click a parameter.
Parameters in the Inspector
Unlike other behaviors, the Custom behavior doesn’t start out with any parameters in
the Behaviors Inspector. Instead, a pair of pop-up menus allows you to add and remove
any parameters you want to use.
Add Parameter: The Add Parameter pop-up menu allows you to add parameters you
want to keyframe to create custom animation. Choose a parameter from this menu to
add it to the Custom parameter list for keyframing.
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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.
For more information on saving behaviors, see Saving and Sharing Custom Behaviors.
To add a Custom behavior to an object
Do one of the following:
µ
Select the object you want to add a Custom behavior to, open the Add Behavior pop-up
menu in the toolbar, then choose Parameter > Custom from the submenu.
µ
In the Library, select the Behaviors category, select the Parameter subcategory, then drag
the Custom icon to the object in the Canvas, Layers list, or Timeline.
The Custom behavior is applied to the object. The behavior has no effect until you add
a parameter to the behavior.
µ
To add a parameter to animate in a Custom behavior
Choose a parameter to add to the Custom parameter list from the Add Parameter pop-up
menu. This menu contains every animateable parameter.
The parameter appears in the Behaviors Inspector below the Custom behavior.
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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.
After you animate the parameters you added, you can save the Custom behavior into
the Library for future use. For more information about saving Custom behaviors to the
Library, see Saving and Sharing Custom Behaviors.
When you apply a Custom behavior that you’ve saved in the Library to an object in a
project, its keyframed animation is scaled to the duration of the object to which it is
applied. This means that no matter how long the original Custom behavior was, you can
apply it to any object, and the animated effect speeds up or slows down to accommodate
the new object’s duration.
Exponential
The Exponential parameter behavior creates more natural animations when scaling
objects, especially when using high values. For example, when an object scales from very
small to very large, the animation appears to slow down as the object reaches its upper
scale values. The Exponential parameter behavior works like the Ramp behavior, but
applies a mathematical function to create an exponential curve (rather than linear)
between the two values. This allows the animation to progress slowly when the scale
values are small and speed up when the scale values are large.
Tip: When applied to parameters other than Scale, the Exponential parameter behavior
creates more organic animations than other interpolation modes.
You can also change the interpolation modes of keyframes to Exponential. For more
information, see Modifying Curves.
Parameters in the Inspector
Start Value: The value that’s added to the parameter at the first frame of the Exponential
behavior.
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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.
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 parameter.
Apply To: The Apply To pop-up menu shows the parameter affected and can be used
to reassign the behavior to another parameter.
HUD Controls
The HUD lets you set the start and end values and change the parameter assignment.
Related Behaviors
• Logarithmic
• Ramp
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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. You cannot link a compound parameter
such as Scale X-Y-Z to a parameter such as Opacity which has only one slider. You can
however, link a compound parameter such as Scale X-Y-Z to Position X-Y-Z.
The values of the source parameter can be scaled to more accurately apply to the
destination parameter. For example, a source parameter with a range of 1–100 can be
scaled when applied to a parameter with a range of 0–1. The values can also be offset
from the source, and the effect can be mixed with the destination value to create different
effects.
The Link behavior can be applied to parameters animated with behaviors or keyframes;
however, it does not affect the parameter when the Start Values or End Values are zero.
When using the Link behavior to control an object’s position parameter, the linked
coordinates are based on the center point of the current group. So when an object is
linked to another object in the same group, it will share an identical position. However,
if the source object is in a different group, the coordinates might appear offset in space.
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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. For more about Match Move, see Motion Tracking Behaviors.
You can also link to the group’s coordinates instead of the object’s, and use the Offset
parameters in the Link behavior to obtain the position you want. However, if that group
is subsequently added to another group, the linked object might not move as expected.
Note: When a link behavior is added, it is not enabled by default. To activate the behavior,
click the activation checkbox beside the behavior name in the Behaviors Inspector.
Parameters in the Inspector
Source Object: The object in which the source parameter resides. Click the To pop-up
menu to select from the objects in the current project.
Source Parameter: The Source Parameter (Compatible Parameters) pop-up menu shows
the parameter that serves as the source for the Link behavior and can be used to select
a new source parameter. Only parameters with the same value type and number of
attributes as the parameter selected in the Apply To (Target Parameters) pop-up menu
appear here.
Note: When possible, Source Parameter defaults to the parameter chosen in the Apply
To row (described below).
Important: Changing the Apply To (Target Parameters) setting changes which parameters
appear in the Source Parameter pop-up menu. If you cannot find the parameter you are
looking for, you might need to choose a Target Parameter to which you can link.
Apply To: The Apply To (Target Parameters) pop-up menu shows the parameter affected
and can be used to reassign the behavior to another parameter. Because only some
parameters can be linked, you must set the Apply To parameter before eligible parameters
will appear in this pop-up menu.
Apply Mode: Pop-up menu to specify how the values from the source parameter affect
the target parameter. The choices include:
• Add to source: Choosing this option will add the source parameter value to the existing
value of the target parameter.
• Multiply by source: Choosing this option will multiply the source parameter value with
the existing value of the target parameter.
• Replace with source: Choosing this option will replace the existing value of the target
parameter with that of the source parameter.
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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.
Tip: Ease In and Accelerate begin at the In point of the Link behavior, and Ease Out and
Decelerate end at the Out point of the Link behavior. Therefore, you can trim the Link
behavior in the Timeline to specify where the ease or acceleration begins and/or ends.
Custom Mix: When the Mix Over Time parameter is set to Custom Mix, this slider can be
animated to create a user-determined mix between the source and target parameter
values.
Scale: Slider to specify a value to be multiplied with the Source parameter before it is
applied to the target.
Apply Link When: Pop-up menu that enables you to limit when values from the source
are applied to the target. There are five choices:
• Any source value: When this item is selected, no limits are placed on the source
parameter values. An offset slider for each setting associated with the source parameter
appears at the bottom of the Behaviors Inspector. If the source parameter has a single
slider, such as Opacity, a single offset slider appears. If the source parameter has multiple
sliders, such as Position X-Y-Z, offset sliders for each of those settings appear.
• Source value above minimum: When this item is selected, the link applies only when
the source value exceeds a defined minimum value. If the source value falls below the
defined minimum, the link behavior stops. When selected, the Clamp Source Values
Within Range checkbox as well as offset and minimum sliders for each setting associated
with the source parameter appear at the bottom of the Behaviors Inspector. If the
source parameter has a single slider, such as drop shadow Blur, an offset and a minimum
slider appear for that setting. If the source parameter has multiple sliders, such as Scale
X-Y-Z, offset and minimum sliders appear for each of those settings.
• Source value below maximum: When this item is selected, the link applies only when
the source value stays below a defined maximum value. If the source value exceeds
the defined maximum, the link behavior stops. When selected, the Clamp Source Values
Within Range checkbox as well as offset and maximum sliders for each setting associated
with the source parameter appear at the bottom of the Behaviors Inspector. If the
source parameter has a single slider, such as shape Roundness, an offset and a maximum
slider appear for that setting. If the source parameter has multiple sliders, such as
Rotation X-Y-Z, offset and maximum sliders appear for each of those settings.
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• 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. If the source parameter has a single slider, such
as shape Feather, one set of three sliders (offset, minimum, and maximum) appears for
that setting. If the source parameter has multiple sliders, such as Fill Color (red, green,
blue), sets of three sliders appear for each of those settings.
• Source value outside min and max: When this item is selected, the link applies only when
the source value stays outside of a defined range. If the source value falls above the
defined minimum, or below 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 appears
at the bottom of the Behaviors Inspector. If the source parameter has a single slider,
such as Outline Width, one set of three sliders (offset, minimum, and maximum) appears
for that setting. If the source parameter has multiple sliders, such as Shear X-Y, sets of
three sliders appear for each of those settings.
Clamp Source Value Within Range: This checkbox becomes available when the Apply
Link pop-up menu is set to a choice requiring a minimum or maximum value. When
selected, values that exceed the defined range are pinned to the highest or lowest
allowable setting.
(Parameter) offset: This slider allows you to create a constant offset between the source
parameter value and the value applied to the target parameter.
(Parameter) min: When the Apply Link When pop-up menu is set to “Source value above
minimum,” “Source value between min and max,” or “Source value outside min and max,”
a “min” slider appears for each component of the source parameter. Adjusting this slider
defines a minimum value to limit when the link behavior is active.
(Parameter) max: When the Apply Link When pop-up menu is set to “Source value below
maximum,” “Source value between min and max,” or “Source value outside min and max,”
a “max” slider appears for each component of the source parameter. Adjusting this slider
defines a maximum value to limit when the link behavior is active.
HUD Controls
The HUD lets you set all parameters and change the parameter source and target.
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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. This allows the animation to
progress slowly when the scale values are small and speed up when the scale values are
large.
The Logarithmic behavior can be applied to parameters animated with behaviors or
keyframes; however, Logarithmic does not affect the parameter unless the Start Values
or End Values are nonzero.
Tip: When applied to parameters other than Scale, the Logarithmic parameter behavior
creates more organic animations than other interpolation modes.
Note: You can also change the interpolation modes of keyframes to Logarithmic. For
more information, see Modifying Curves.
Parameters in the Inspector
Start Value: The value that’s added to the parameter at the first frame of the Logarithmic
behavior.
End Value: The value the Logarithmic behavior reaches at the last frame of the behavior.
Over the life of the behavior, the parameter that the Logarithmic 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.
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 parameter.
Apply To: The Apply To pop-up menu shows the parameter affected and can be used
to reassign the behavior to another parameter.
HUD Controls
The HUD lets you set the start and end values and change the parameter assignment.
Related Behaviors
• Exponential
• Ramp
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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.
• Learning: This mode is used to “teach” Motion which control (such as a knob, dial, or
key) you want to use on the MIDI device to manipulate the parameter to which the
MIDI behavior is applied. When in Learning mode, the first knob, dial, or key that you
adjust on the MIDI device is set as the control.
Note: When the MIDI behavior is first applied, Learning is the default control type.
ID: Displays the identification number of the MIDI control (such as a knob, dial, or key)
that you are manipulating.
Value: When you are manipulating the MIDI control, displays the standard MIDI value
between 0 and 1.
Scale: Increasing the Scale value multiplies the Value parameter in the MIDI behavior.
This means that when Scale is increased, the MIDI control has a larger range of value and
a greater effect on the parameter it’s controlling. For example, when you use a knob to
adjust an object’s rotation, the default rotation value range (when Scale is set to 1) for a
full turn of the knob might only be 30 percent. When the Scale value is increased to 13,
the rotation value of a full turn of the knob is increased to 370 degrees.
Apply To: The Apply To pop-up menu (parameter assignment control) shows the
parameter affected and can be used to reassign the behavior to another parameter.
HUD Controls
The HUD controls allow you to adjust the Control Type, ID, Value, and Scale parameters,
as well as change the parameter assignment.
Applying the MIDI behavior
The MIDI behavior is applied in the same way as all other Parameter behaviors. In the
following examples, the MIDI parameter behavior is used to adjust an object’s opacity
and rotation.
Note: This behavior can only be used if you have a MIDI device correctly connected to
your computer.
To use the MIDI behavior to adjust an object’s opacity
1 Select an object, then select the Opacity parameter in the Properties Inspector.
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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.
Note: When in Learning mode, the first control adjusted on the MIDI device is set as the
control. To reset the selected controller, choose Learning from the Control Type pop-up
menu, and adjust another control on the MIDI device.
The identification number of the MIDI control is displayed in the ID field. The value range
of the control is 0 to 127, the default MIDI control value.
Because an object’s opacity can only fall between 0 (completely transparent) to 100
(completely opaque), the default MIDI values are sufficient to adjust the parameter.
To use the MIDI parameter behavior to adjust an object’s rotation
1 Select an object, then select the Rotation parameter in the Properties Inspector.
2 Control-click the parameter, then choose MIDI from the shortcut menu.
3 On your MIDI device, tweak the control (knob, dial, key, and so on) you want to use as
the controller for the Rotation parameter.
As mentioned above, the default Value range is 0 to 1. Because the Rotation value of an
object can be much larger, you can use the Scale parameter to multiply the Value range.
4 To give the control more sensitivity, increase the Scale value.
Negate
Inverts the value of each keyframe and behavior effect in the parameter to which it’s
applied by multiplying the parameter by –1. The Negate behavior basically flips each
parameter value to its opposite. Animation paths are flipped, rotation is reversed, and
any effect’s parameter is changed to its opposite.
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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.
HUD Controls
The HUD control allows you to change the parameter assignment.
Related Behaviors
• Average
• Reverse
Oscillate
The Oscillate behavior animates a parameter by cycling it between two values. You can
customize how wide apart the high and low values are as well as the number of oscillations
per minute. The Oscillate behavior can create all kinds of cyclical effects. For example, if
you apply the Oscillate behavior to the rotation property of an object, it will rock back
and forth. This happens because the rotation property cycles back and forth between
the original rotation value plus and minus the Amplitude value that’s set in the Oscillate
behavior.
Applying the Oscillate behavior to the X value of the Scale parameter instead causes the
width of the object to cycle, and it repeatedly stretches and compresses for the duration
of the behavior.
The Oscillate behavior is additive, meaning that the value generated by this behavior is
added to the original value of the parameter to which it’s applied.
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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. For example, when Oscillate
is applied to an object’s Opacity parameter, and the Wave Shape is set to Square, the
object flashes on and off (like turning a light switch on and off ).
• Sawtooth: The Sawtooth wave ramps upward over time and then drops sharply. For
example, when Oscillate is applied to an object’s Opacity parameter, and the Wave
Shape is set to Sawtooth, the object fades in slowly and fades out abruptly (like using
a light dimmer to fade up a light, and then flicking the power switch off ).
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• 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. This parameter allows you to put multiple objects with identical Oscillate behaviors
out of phase with one another so they don’t all look the same.
Amplitude: A slider that lets you adjust the maximum values that the parameter oscillates
between. The parameter swings between the amplitude value and the negative of the
amplitude value. Higher values result in more extreme swings from the beginning to the
ending of each oscillation.
Speed: A slider that lets you adjust the speed at which the oscillation occurs, in oscillations
per minute. Higher values result in faster oscillations.
Half Range: When this checkbox is selected, the sine wave (or other wave shape) is
essentially cut in half and does not cross the value of 0. For example, when Amplitude is
set to 100, the parameter oscillates between 100 and –100. When Half Range is selected,
however, the parameter oscillates between 100 and 0. When Amplitude is set to –100,
the parameter oscillates between –100 and 0.
Tip: When you are oscillating position parameters, set Wave Shape to Sine and enable
Half Range to create a bouncing effect.
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.
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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.
Apply To: The Apply To pop-up menu shows the parameter affected and can be used
to reassign the behavior to another parameter.
HUD Controls
The HUD lets you adjust the Phase, Amplitude, Speed, and Half Range parameters as well
as change the parameter assignment of the Oscillate behavior.
Related Behaviors
• Ramp
• Rate
Creating a Decaying Oscillation
When you are oscillating an object’s rotation or position, a common effect is to “decay”
or “dampen” the animation over time. This means that the animation gradually slows or
comes to a stop. You can achieve this effect using keyframes to slow the amplitude of
the oscillation.
To decay an oscillating rotation using keyframes
1 Go to the frame where you want the animation to begin, then enable Record (press A).
2 Set the Amplitude to the maximum value you want to use in your project.
Note: When Record is enabled, any value change to a parameter using the Inspector,
HUD, or Canvas creates a keyframe.
3 Go to the frame where you want the animation to come to a stop and set the Amplitude
value to 0.
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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.
Affected Oscillate
behavior curve
Keyframed Amplitude
parameter
Note: The Oscillate behavior must be selected for its curve to be visible in the Keyframe
Editor.
Quantize
The Quantize behavior lets you create an incremental animation in any keyframed or
behavior-influenced parameter. For example, if opacity is animated so an object gradually
fades in over time, you can add the Quantize behavior to make the object become opaque
in steps.
Note: The Quantize behavior only works with animated parameters.
Parameters in the Inspector
Step Size: A value slider that defines the size of the steps, based on the units of the
parameter to which it is applied. For example, when Quantize is applied to rotation, the
steps are in degrees (even though it is not a dial control). When applied to position, the
steps are in pixels.
The following left screenshot shows the projected path (the red line) of a layer with an
applied Throw behavior. The right image displays the same animation path after the
Quantize behavior is added. In this example, the Step value is set to 90.
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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.
HUD Controls
The HUD lets you define the step size, offset, and parameter assignment.
Ramp
The Ramp behavior lets you create a gradual transition in any parameter that can be
animated, from the Start Value to the End Value. The speed of the transition is defined
by the length of the Ramp behavior in the Timeline, and by the behavior’s end value.
Additional parameters allow you to define how the transition occurs, whether it’s at a
single continuous speed, or whether it accelerates over time.
Ramp is a versatile behavior. If you apply it to the Scale property, it works like the
Grow/Shrink behavior. If you apply it to the Opacity property, you can fade an object in
or out in different ways. Although you can use the Ramp behavior to mimic other Motion
behaviors, it can be applied to any parameter.
Note: This behavior is additive, meaning that the value it generates is added to the original
value of the parameter to which it’s applied.
For example, to animate different segments of a bar graph so each segment grows to a
specific length, apply the Ramp behavior to the each bar’s Crop parameter.
After you arrange the different bars with their starting Crop values, the Ramp behaviors
move the Top Crop parameter up, giving the illusion that each bar is growing. Set the
End Value parameter of each Ramp behavior to the length you want each bar to reach,
and you’re done!
Before
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Top Crop parameters
Using Behaviors
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. Higher Curvature values result in an
ease in/ease out effect, where the value slowly begins the transition, gradually speeds
up as the behavior continues, then gradually slows down to a stop as it reaches the end.
Because Curvature is defined by the length of the behavior in the Timeline, it does not
affect the overall duration of the effect.
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.
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 parameter.
Apply To: The Apply To pop-up menu shows the parameter affected and can be used
to reassign the behavior to another parameter.
HUD Controls
The HUD lets you adjust the Ramp’s Start Value, End Value, and Curvature parameters,
as well as change the parameter assignment.
Related Behaviors
• Oscillate
• Rate
Randomize
Creates a continuous sequence of randomly increasing and decreasing values, based on
the parameters defining the range and type of values generated.
Although the values created with this behavior appear to be random, they’re
predetermined by the parameter settings you’ve chosen. As long as you don’t change
the parameters, the frame-by-frame values created by this behavior remain the same. If
you don’t like the randomly generated values, click the Generate button in the Behaviors
Inspector to pick a new random seed number. This number is used to generate a new
sequence of values.
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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. The Randomize behavior can be modified with
other behaviors, such as Average and Negate, to exercise further control over the values
generated.
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, and is set to Multiplier when the Apply Mode is set to
Multiply. This parameter defines the maximum value the Randomize behavior will generate.
Apply Mode: A pop-up menu that 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 options are Add, Subtract, Multiply, or Add and Subtract.
Frequency: A slider that lets you adjust the amount of random variation per second.
Higher values will generate faster variations, whereas lower values will generate slower
variations.
Noisiness: Adds an additional overlay of random variance to the Frequency you’ve set.
Higher Noisiness values result in more erratic variations in the affected parameter.
Link: This parameter appears when you apply this behavior to a two-dimensional
parameter (such as Scale) or three-dimensional parameter (such as Position) that consists
of X, Y, and/or Z values. Turn this checkbox on to keep the behavior’s effect on each value
proportional.
Affect Subobjects: This parameter only appears when the Randomize behavior is applied
to a parameter of the Sequence Replicator behavior. When Affect Subobjects is selected,
each object has a different random behavior. When Affect Subobjects is deselected, each
object undergoes the same animation.
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.
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.
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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.
Trimming the end of the behavior resets the parameter to its original value.
Apply To: The Apply To pop-up menu shows the parameter affected and can be used
to reassign the behavior to another parameter.
HUD Controls
The HUD lets you adjust the Amount, Multiplier, Frequency, Noisiness, Link (for
multidimensional parameters), Start Offset, and End Offset parameters, as well as parameter
assignment.
Related Behaviors
• Random Motion
• Wriggle
Rate
This behavior increases a parameter’s value over time, with the rate of increase determined
by the Rate slider. Unlike the Ramp behavior, this behavior has no end value, but continues
to increase or decrease the parameter it’s applied to until the end of the parameter.
Note: To decrease a parameter over time, enter a negative value into the Rate parameter.
Parameters in the Inspector
Rate: A value slider that lets you set a rate of increase over time for the affected parameter.
Measured in percentage increase per second.
Curvature: This parameter lets you ease the acceleration with which the Rate behavior
transitions from the Start Value to the End Value. Higher Curvature values result in an
ease in/ease out effect, where the value slowly begins the transition, gradually speeds
up as the behavior continues, then gradually slows down to a stop as it reaches the end.
Because Curvature is defined by the length of the behavior in the Timeline, it does not
affect the overall duration of the effect.
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.
Trimming the end of the behavior resets the parameter to its original value.
Apply To: The Apply To pop-up menu shows the parameter affected and can be used
to reassign the behavior to another parameter.
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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. For example, when you apply the Reverse
behavior to path animation that begins at the left and moves to the right, the animation
path won’t move, but the object instead begins at the right and moves to the left. The
Reverse behavior basically switches the beginning and ending points of animated objects.
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.
HUD Controls
The HUD control allows you to change the parameter assignment.
Related Behaviors
• Average
• Negate
Stop
The Stop behavior suspends parameter animation (created by keyframes or applied
behaviors) of an object. For example, if you assign the Stop parameter behavior to the
Position parameter of an object moving across the screen and rotating, the object ceases
to move across the screen but continues to rotate.
Each behavior’s effect on the object is frozen at the first frame of the Stop behavior in
the Timeline. Keyframes applied to that parameter cease to have any effect for the duration
of the Stop behavior in the Timeline.
If the Stop behavior is shorter than the object to which it’s applied, all keyframes and
behaviors affecting that channel immediately take effect after the last frame of the Stop
behavior. For more information on using the Stop behavior, see Using the Stop Behavior.
Parameters in the Inspector
Apply To: The Apply To pop-up menu shows the parameter being stopped and can be
used to reassign the Stop behavior to another parameter.
HUD Controls
The HUD control allows you to change the parameter assignment.
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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.” For a better result, set
the Opacity to 0, or change the Apply Mode to Subtract.
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. This parameter is set to Multiplier when the Apply Mode
is set to Multiply. This parameter defines the maximum value that the Wriggle behavior
generates.
Apply Mode: A pop-up menu that 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 Wriggle behavior to modify a parameter’s
preexisting values. The options are Add, Subtract, Multiply, or Add and Subtract.
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 objects. By offsetting each
object’s version of the Wriggle behavior, you can prevent objects from moving in sync.
Noisiness: This slider adds an additional overlay of random variance to the Frequency
you’ve set. Higher Noisiness values result in more erratic variations in the affected
parameter.
Link: This parameter appears when you apply the Wriggle behavior to a two-dimensional
parameter (such as Scale) or three-dimensional parameter (such as Position) that consists
of X, Y, and/or Z values. Turn this checkbox on to keep the behavior’s effect on each value
proportional.
Affect Subobjects: This parameter only appears when the Wriggle behavior is applied
to a parameter of the Sequence Replicator behavior. When Affect Subobjects is selected,
each object has a different wriggle behavior. When Affect Subobjects is deselected, each
object undergoes the same animation.
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.
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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. 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.
Trimming the end of the behavior resets the parameter to its original value.
Apply To: The Apply To pop-up menu shows the parameter affected and can be used
to reassign the behavior to another parameter.
HUD Controls
The HUD lets you adjust the Amount, Multiplier, Frequency, Wriggle Offset, Noisiness,
Link (for multidimensional parameters), Start Offset, and End Offset parameters, as well
as change the parameter assignment.
Related Behaviors
• Random Motion
• Randomize
Retiming Behaviors
Retiming behaviors are applied to image sequences, QuickTime movies, and clone layers
to change their timing. Retiming effects include creating hold frames, changing playback
rate, reversing a clip, creating stutter or strobe effects, and so on.
Important: Retiming behaviors can only be applied to QuickTime movies, image
sequences, or clone layers. In other words, a Retiming behavior cannot be applied to a
particle emitter, but it can be applied to an instance of the particle emitter. For more
information on cloning layers, see Making Clone Layers.
Retiming Behaviors Versus Timing Controls in the Inspector
When a clip is selected, a group of Timing parameters appears in the Properties Inspector.
These controls allow you to do some of the same effects as the Retiming behaviors,
such as slowing down or speeding up, looping, or reversing a clip; however, the Timing
controls affect the entire clip. The power of the Retiming behaviors is that you can define
which portion of the clip is affected by the behavior. Any timing changes made to a clip
using the Inspector’s Timing controls are respected by the Retiming behaviors. For
example, if you changed the speed of the clip to 50% in the Timing parameters, a
Retiming behavior uses that half-speed clip as its source. For more information on Timing
controls in the Inspector, see Retiming.
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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. When this value is set to 0, no random
frames are inserted. When set to 100, every frame is random. The default value is 10%.
Frame Range: A slider that defines the range from which the random frames are chosen,
based around the current frame. The default value is 10 frames.
Duration: A slider that sets the duration of the sequence of random frames. The default
value is 1, which means 1 random frame is inserted at a time. When Duration is set to 30,
for example, 30-frame sequences (chosen from the Frame Range) are randomly inserted.
The Duration value overrides the Random Frame count (so a new random frame does
not interrupt the sequence).
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 Random Frames, Frame Range, Duration, and Random Seed
parameters.
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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
Offset: A slider that sets the offset for the hold frame. When set to 0 (the default), the
frame at the start of the behavior is the hold frame. When set to 60, however, the frame
at the start of the behavior (the hold frame) is the start frame plus 60 frames. This
parameter is measured in frames.
Tip: Flickering might occur if the Hold Frame behavior is applied to interlaced footage.
To avoid this, ensure that Field Order is properly set in the Inspector. To change field
order, select the footage in the Media list, open the Media pane in the Inspector, then
choose a field order option from the Field Order pop-up menu.
HUD Controls
The HUD contains the Offset parameter.
Loop
This behavior loops a segment of the clip within the duration of the behavior. The loop’s
starting frame is derived from the start frame of the behavior. For example, if the behavior
is applied at the start of a clip, and Loop Duration is set to 30, the first 30 frames of the
clip loop repeatedly until the end of the behavior. At the end of the behavior, normal
playback resumes from the frame at the end of the loop duration.
Parameters in the Inspector
Loop Duration: A slider that sets the duration of the looped frames. The default value is
30 frames.
HUD Controls
The HUD contains the Loop Duration parameter.
Ping Pong
This behavior “ping-pongs” a segment of the clip within the duration of the behavior.
The ping-pong’s starting frame is derived from the start frame of the behavior. For example,
if the behavior is applied at the start of a clip, and Duration is set to 30, the first 30 frames
of the clip play forward, then play in reverse, then forward, and so on until the end of the
behavior. At the end of the behavior, normal playback resumes.
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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. This allows you to trigger playback of the clip at different
times, without requiring multiple copies of the movie object.
Parameters in the Inspector
Start From: A pop-up menu that determines whether the replay starts from an absolute
frame number or an offset from the frame at the start of the behavior.
• Absolute Frame: Sets the replay to start at the frame specified in the Start Time
parameter. For example, if the behavior starts at frame 60 of the clip and Start Frame
is set to 30, when playback reaches frame 60, the clip starts playback over from frame
30.
• Offset Frame: Allows you to offset the start frame of the replay. For example, if the
behavior starts at frame 60 of the clip, and Start Frame is set to 30, when playback
reaches frame 60, the clip starts playback at frame 90. If Start Frame is set to –30, the
clip starts playback over from frame 30.
Start Time: A slider that sets the start frame where the replay begins. The default is
frame 1.
HUD Controls
The HUD contains the Start From and Start Time parameters.
Reverse
This behavior plays the clip or image sequence in reverse.
Parameters in the Inspector
There are no parameters for this behavior.
HUD Controls
There are no parameters for this behavior.
Reverse Loop
This behavior loops a segment of the clip in reverse within the duration of the behavior.
If Loop Duration is set to 30 and the behavior begins at frame 1, frames 1–30 are played
in reverse, then frames 31–60 are played in reverse, frames 61–90 are played in reverse,
and so on.
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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. Additionally, the
Scrub behavior allows you to animate the offset parameter using keyframes or Parameter
behaviors, often with interesting results. Try applying the Oscillate behavior to the Frame
offset, with the Offset From parameter set to Current Frame.
Note: You can also apply Parameter behaviors to the Retime Value parameter in the
Timing controls for the clip object. The Timing controls are located in the Properties
Inspector. Time Remap must be set to Variable Speed to access the Retime Value
parameter.
Important: Scrub does not affect clip audio.
Parameters in the Inspector
Frame Offset: Sets the offset of the virtual playhead.
Offset From: Sets the position where the virtual playhead is offset. Values can be selected
from First Frame or Current Frame.
HUD Controls
The HUD contains the Frame Offset and Offset From parameters.
Set Speed
This behavior allows you to change the speed (playback rate) of a clip. The speed specified
in the behavior begins at the behavior’s In point and exists for the duration of the behavior.
The clip continues playing at its default speed after the behavior’s Out point. For example,
if the Set Speed behavior begins at frame 60 and ends at frame 300, the clip plays normally
until frame 59, plays back at the rate specified in the behavior from frame 60 to frame
300, and then resumes its default playback speed at frame 301. You can apply an “ease-in”
or “ease-out” effect to the speed change.
Parameters in the Inspector
Speed: A slider that sets the speed of the clip as a percentage. The default is 100% (the
clip’s normal speed). A Speed setting of 50% plays the clip at half speed.
Note: The Speed parameter can be keyframed to create variable playback rate changes.
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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%.
Ease Out Time: A slider that sets the number of frames over which the ease out of the
speed change occurs (from the end of the behavior). The default value is 20 frames.
Ease Out Curve: A slider that defines the curvature of the ramp when easing out of the
speed change. A value of 0 creates a sharp transition from the new speed to the original
speed; a value of 100 creates the smoothest ease out. The default is 50%.
HUD Controls
The HUD contains the Speed, Ease In Time, Ease In Curve, Ease Out Time, and Ease Out
Curve parameters.
Strobe
The Strobe behavior simulates the look of a strobe light or lower frame rate video by
holding a number of frames as defined by the Strobe Duration parameter over the playback
of the clip. For example, when Strobe Duration is set to 10, frame 1 is held for 10 frames,
frame 11 for 10 frames, frame 21 for 10 frames, and so on. The frames in between (2–10,
12–20, 22–30, and so on) do not appear.
Parameters in the Inspector
Strobe Duration: A slider that sets the number of frames to hold. A value of 1 plays the
clip at normal speed. The default value is 5 frames.
HUD Controls
The HUD contains the Strobe Duration parameter.
Stutter
This behavior randomly inserts hold frames, of random durations, into the playback of a
clip. The effect is similar to a tape that sticks during play in a videocassette recorder.
Parameters in the Inspector
Stutter Amount: A slider that sets the probability that a hold frame is generated at the
given frame. When set to 0%, no hold frames are created; when set to 100%, every frame
is a hold frame. Values between 0 and 100 indicate the probability of frames (within the
duration of the behavior) that are replaced by hold frames. The default value is 10%.
Duration Range: A slider that sets the maximum duration of hold frames. A value of 1
inserts single-frame hold frames at a frequency determined by the Stutter Amount
parameter. Increasing the Duration Range increases the range of hold frames. For example,
a value of 30 creates random hold frames with a minimum of 1 frame and a maximum
of 30 frames. The default value is 3 frames.
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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.
Other Simulation behaviors, such as Attractor and Repel, affect the parameters of objects
surrounding the object to which they’re applied. These behaviors allow you to create
some very sophisticated interactions among multiple objects in your project with a
minimum of adjustments. Like the Basic Motion behaviors, Simulation behaviors also
affect specific object parameters. Examples include Attractor, Gravity, and Repel.
Important: Several Simulation behavior parameters contain object wells into which you
drag target objects used as attractors, repellers, orbiters, and so on. Dragging an object
to a well can be tricky—be sure to click the object name in the Layers list and immediately
drag the object to the object well (without releasing the mouse button). The behavior
must remain active even though you are dragging another object in the Layers list. If you
click the object in the Layers list and release the mouse button, that object becomes
selected, and the behavior’s parameters are no longer displayed. This applies to all wells,
including mask source and image wells.
The following sections cover the Simulation behaviors:
• Align To Motion
• Attracted To
• Attractor
• Drag
• Drift Attracted To
• Drift Attractor
• Edge Collision
• Gravity
• Orbit Around
• Random Motion
• Repel
• Repel From
• Rotational Drag
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• 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. Instead, use the Snap Alignment to Motion behavior (in the Basic Motion
subcategory).
Before
After using Align
to Motion
Unlike the Snap Alignment to Motion behavior, which produces absolute changes in
rotation that precisely match changes in direction, Align To Motion has a springy reaction
and creates a more lively effect.
In the above example, the fish travels along the keyframed animation path, but it isn’t
aligned to the animation path (notice the rotation handle). Using the Align To Motion
behavior, its angle of rotation moves so it points in the direction of the animation path.
By adjusting the Drag parameter, you can make it careen wildly about its anchor point
as it goes around curves in the animation path.
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.
Rotation Axis: A pop-up menu that lets you rotate the object around the X, Y, or Z axis.
You can also select All to rotate the object around all three axes. The default rotation axis
is Z.
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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.
Drag: A slider that adjusts whether the change in rotation made by this behavior
overshoots the new direction of the object. Low drag values result in springy changes in
rotation, where the object rotates back and forth as it overshoots changes in direction.
High drag values dampen this effect, making the object’s rotation stick more closely to
the changes made in rotation. Higher values also cause the object’s rotation to lag behind
the object’s change in position.
HUD Controls
The HUD has controls for the Rotation Axis, Axis, Invert Axis, Spring Tension, and Drag
parameters. When applied to a group or layer that contains multiple objects (such as
particles, text, or a replicator), the Affect Subobjects checkbox also appears in the HUD.
Related Behaviors
• Snap Alignment to Motion
Attracted To
This behavior is part of a group of Simulation behaviors that let you create complex
animated relationships between two or more objects. These behaviors are extremely
powerful and allow complicated effects to be created with a minimum of steps.
An object with the Attracted To behavior moves toward a single specified target, the
object of attraction. Additional parameters allow you to adjust the area of influence that
defines how close an object must be to move toward the object of attraction, and how
strongly it is attracted.
Object with Attracted
To behavior
Resulting animation path
Target object
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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.
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: An image well that defines the object of attraction. To set the defined target
object, drag the object from the Layers list to the Object well in the Attracted To HUD or
Inspector. In the Layers list, you can also drag the target object onto the Attracted To
behavior.
Strength: A slider defining the speed at which the object moves toward the object of
attraction. With a value of 0, the object doesn’t move at all. The higher the value, the
faster the object moves.
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.
• 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. When set to Exponential, the attraction falls off
more quickly than when set to Linear.
Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that
fall within the area of influence move toward the object of attraction. Objects outside
the area of influence remain in place.
Drag: A slider that can be used to reduce the distance attracted objects overshoot the
object of attraction. Lower Drag values result in the object overshooting the object of
attraction, moving past and then careening back around toward the target object again
and again. Higher Drag values result in the object coming to rest sooner.
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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. 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
• Attractor
• Drift Attracted To
• Drift Attractor
• Orbit Around
• Spring
• Vortex
Attractor
If you apply an Attractor behavior to an object, other objects that lie within the area of
influence move toward it. You can manipulate the strength with which other objects are
attracted, as well as the distance required for attraction to begin.
Start of Attractor effect
End of Attractor effect (motion paths shown)
By default, objects overshoot the object of attraction and bounce around, never coming
to rest. The Drag parameter lets you adjust this behavior, changing whether attracted
objects overshoot and bounce around, or whether they eventually slow down and stop
at the position of the target object.
The Attractor behavior can affect all objects in the Canvas that fall within the area of
attraction, or you can limit its effect to a specific list of objects by using the Affect
parameter.
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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.
• Related Objects: The default setting. Only other objects in the same group as the object
of attraction are affected.
• Specific Objects: Only objects appearing in the Affected Objects list are affected by the
Attractor behavior.
Affected Objects: A list that appears when Specific Objects is chosen in the Affect pop-up
menu. Drag objects from the Layers list into this list to be affected by the Attractor behavior
when the Specific Objects option is selected in the Affect pop-up menu. To remove an
item from the list, select the item and click Remove.
• Layer: This column lists the name of the layer containing the object.
• Name: This column lists the name of the object.
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.
• 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. When set to Exponential, the attraction falls off
more quickly than when set to Linear.
Influence: A slider that defines the radius of the circle of influence in pixels. Objects that
fall within the area of influence move toward the object of attraction. Objects outside
the area of influence remain in place.
Drag: A slider that can be used to reduce the distance attracted objects overshoot the
object of attraction. Lower Drag values result in the object overshooting the object of
attraction, moving past and then careening back around toward the target object again
and again. Higher Drag values result in the object coming to rest sooner.
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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
• Attracted To
• Drift Attracted To
• Drift Attractor
• Orbit Around
• Spring
• Vortex
Drag
This behavior lets you simulate the force of friction on a moving object, slowing it down
over time. Applying the Drag behavior is an easy way to decelerate objects with multiple
behaviors that create complex motion.
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.
Amount: Sliders that can be used to slow down an object over time, causing it to
eventually come to a stop. Higher Drag values result in the object coming to rest sooner.
Click the Amount disclosure triangle to adjust the drag applied to the X, Y, and Z values
separately. An example of this is to create a situation where an object’s vertical speed
slows down faster than its horizontal speed.
Include X, Y, and Z: Buttons that allow you to specify the space in which drag is in effect.
For example, when X and Y are enabled, the object drags in the XY plane; when Y and Z
are enabled, the object drags in the YZ plane.
HUD Controls
The HUD lets you adjust the amount of drag and axis assignment. 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.
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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. 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: An image well that defines the object of attraction. To set the defined target
object, drag the object from the Layers list to the Object well in the Drift Attracted To
HUD or Inspector. In the Layers list, you can also drag the target object onto the Drift
Attracted To behavior.
Strength: A slider defining the speed at which the object moves toward the object of
attraction. With a value of 0, the object doesn’t move at all. The higher the value, the
faster the object moves.
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.
• 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. When set to Exponential, the attraction falls off
more quickly than when set to Linear.
Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that
fall within the area of influence move toward the object of attraction. Objects outside
the area of influence remain in place.
Drag: A slider that can be used to reduce the distance attracted objects overshoot the
object of attraction. Lower Drag values result in the object overshooting the object of
attraction, moving past and then careening back around toward the target object again
and again. Higher Drag values result in the object coming to rest sooner.
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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. 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
• Attracted To
• Attractor
• Drift Attractor
• Orbit Around
• Spring
• Vortex
Drift Attractor
Similar to the Attractor behavior, but by default objects within the area of influence move
toward the object of attraction and come to rest, rather than overshooting the object of
attraction and bouncing around.
Parameters in the Inspector
Affect: A pop-up menu that limits which objects in your project are affected by the Drift
Attractor behavior. There are three options:
• All Objects: All objects in the Canvas are affected by the Drift Attractor behavior.
• Related Objects: The default setting. Only other objects in the same group as the object
of attraction are affected.
• Specific Objects: Only objects appearing in the Affected Objects list are affected by the
Drift Attractor behavior.
Affected Objects: A list that appears when Specific Objects is chosen in the Affect pop-up
menu. Drag objects from the Layers list into this list to be affected by the Attractor behavior
when the Specific Objects option is selected in the Affect pop-up menu. To remove an
item from the list, select the item and click Remove.
• Layer: This column lists the name of the layer containing the object.
• Name: This column lists the name of the object.
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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.
• 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. When Falloff Type is set to Exponential, the
attraction falls off more quickly than when set to Linear.
Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that
fall within the area of influence move toward the object of attraction. Objects outside
the area of influence remain in place.
Drag: A slider that can be used to reduce the distance attracted objects overshoot the
object of attraction. Lower Drag values result in the object overshooting the object of
attraction, moving past and then careening back around toward the target object again
and again. Higher Drag values result in the object coming to rest sooner.
Include X, Y, and Z: Buttons that allow you to specify the space in which the object (or
objects) drift toward the target object. 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 controls for Affect, Strength, Drag, and axis assignment.
Related Behaviors
• Attracted To
• Attractor
• Drift Attracted To
• Orbit Around
• Spring
• Vortex
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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.
For example, if you apply the Throw behavior to an object and set the velocity to send
the object toward the edge of the frame, then apply Edge Collision, the object will bounce
off the edge of the frame according to the Bounce Strength parameter.
The angle at which the object bounces depends on the angle at which it hits the edge
of the frame; the speed it travels after bouncing is set by the Bounce Strength parameter.
Note: Edge Collision has no effect on objects larger than the Canvas.
Important: By default, the Edge Collision behavior uses the size of the project and the
bounding box to determine how the object collides with the edge of the Canvas. For
example, in an NTSC Broadcast SD project (720 x 486 pixels), an object bounces off the
right and left edges of the project at its bounding box. With groups (particles, text, and
objects), only the object’s center is used. You can make the object travel further off the
Canvas before it bounces by adjusting the Width and Height parameters. If you’re using
this behavior with an object that has an alpha channel that’s smaller than its bounding
box, adjust the Crop parameter in the object’s Properties Inspector to fit the bounding
box as closely as possible to the edge of the image.
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.
Bounce Strength: The speed at which objects travel after colliding with an edge. A value
of 0 causes objects to come to a complete stop when colliding with an edge that’s
perpendicular to the direction of motion. Higher values cause an object to move faster
after bouncing. This parameter only slows the object in the direction perpendicular to
the bounced edge.
Active Edges: Six checkboxes define which collision box edges are detected by the Edge
Collision behavior. You can turn edges on and off in any combination.
• Left Face: Defines the left edge for the collision.
• Right Face: Defines the right edge for the collision.
• Top Face: Defines the top edge for the collision.
• Bottom Face: Defines the bottom edge for the collision.
• Back Face: Defines the back edge (in Z space) for the collision.
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• 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. By default, Depth is set to 100 pixels.
HUD Controls
The HUD has controls for Bounce Strength and Width, Height, and Depth. 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.
Gravity
This behavior causes an object, or the objects in a group (when Affect Subobjects is
selected), to fall over time. The gravitational acceleration can be increased or decreased,
resulting in a change to the rate of fall. Objects affected by the Gravity behavior continue
to fall past the bottom edge of the Canvas (unless the Edge Collision behavior has been
applied).
The following illustration shows an object affected by the Throw, Snap Alignment to
Motion, and Gravity behaviors all at once.
As you can see, the Gravity behavior can be used in conjunction with other behaviors
that animate the position of objects to create natural-looking arcs and animation paths
that simulate thrown objects falling to the ground. For example, apply the Throw behavior
to an object to send it flying through the air, and then apply the Gravity behavior to it to
make the object arc up and then fall down past the bottom of the Canvas.
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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. When this checkbox is deselected, all objects in the parent object are affected
by the behavior together.
Acceleration: A slider defining the strength of gravity affecting the target object. The
higher this value, the faster the target object falls.
HUD Controls
The HUD lets you adjust the Acceleration parameter. When applied to an object containing
multiple objects (such as a group, particles text, or a replicator), the Affect Subobjects
checkbox also appears in the HUD.
Related Behaviors
• Motion Path
• Random Motion
• Throw
• Wind
Orbit Around
Similar to the Attracted To behavior, the Orbit Around behavior’s default parameter
settings give the object sufficient initial velocity to orbit around another object in a perfect
circle.
Note: Behaviors such as Attractor and Repel applied to nearby objects might disrupt an
object with the Orbit Around behavior applied to it.
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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. To set the defined target object,
drag the object from the Layers list to the Object well in the Orbit Around HUD or
Inspector. In the Layers list, you can also drag the target object onto the Orbit Around
behavior.
Strength: A slider defining the speed of the object.
Falloff Type: A pop-up menu that determines whether the distance defined by the
Influence parameter falls off linearly or exponentially. The default is Linear.
• Linear: Object attraction 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 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. When set to Exponential, the attraction falls off
more quickly than when set to Linear.
Influence: A slider that defines the radius of the circle of influence in pixels. Objects that
fall within the area of influence move toward the object of attraction. Objects outside
the area of influence remain in place.
Drag: The default value for Orbit Around is 0, which results in a stable orbit. Any other
value causes the orbit to decay and the object to spiral into the object of attraction.
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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. The white
airplanes move around the target object in the YZ plane.
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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.
• Z: Aligns the Pole Axis to the Z plane.
• Random: When Random is selected, the axes shift to a different random position.
Direction: A pop-up menu that lets you set whether objects move around in a clockwise
or counterclockwise direction.
HUD Controls
The HUD has an image well you can use to assign an object of attraction, as well as
controls for Strength, Falloff Type, Falloff Rate, Influence, Drag, axis and Pole Axis
assignment, and Direction. 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
• Attracted To
• Attractor
• Drift Attracted To
• Drift Attractor
• Spring
• Vortex
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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. If you don’t like the path
that was randomly generated, click the Generate button in the HUD or the Behaviors
Inspector to pick a new random seed number. This number is used to generate a new
path.
The Random Motion behavior is useful for creating varied animation paths for large
numbers of objects you want to move at the same time. For example, you can create an
arrangement of ten objects in the Canvas and apply the Random Motion behavior to
them all.
You can also use the Random Motion behavior to add variation to the animation paths
created by other behaviors that affect an object’s position. In the following example,
adding Random Motion to an object with the Orbit Around behavior results in a more
erratic animation path from orbit to orbit, although it still moves around the center as
before.
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.
Amount: A slider that determines the speed the object moves by changing the length
of the animation path. Higher values result in faster motion and longer animation paths.
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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.
Drag: A slider that controls the speed the object moves along the animation path. While
the Amount parameter controls the length of the animation path, the Drag parameter
shrinks or enlarges the animation path as a whole.
Include X, Y, and Z: Buttons that allow you to specify the space in which random motion
is in effect. For example, when X and Y are enabled, the motion occurs in the XY plane;
when Y and Z are enabled, the motion occurs in the YZ plane.
Random Seed: A button that lets you pick a new random seed number. This number is
used to randomly generate new animation paths, based on the values you’ve picked in
the other parameters of this behavior.
HUD Controls
The HUD has controls for the Amount, Frequency, Noisiness, Drag, axis assignment, and
Random Seed parameters. When applied to an object that contains multiple objects (such
as a group, particles, text, or a replicator), the Affect Subobjects checkbox also appears
in the HUD.
Related Behaviors
• Motion Path
• Gravity
• Throw
• Wind
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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.
The Repel behavior is the opposite of the Attractor behavior, and is part of a group of
simulation behaviors that create complex animated relationships between two or more
objects.
Parameters in the Inspector
Affect: A pop-up menu that limits which objects in your project are affected by the Repel
behavior. There are three options:
• All Objects: All objects in the Canvas are affected by the Repel behavior.
• Related Objects: The default setting. Only other objects in the same group as the
repelling object are affected.
• Specific Objects: Only objects appearing in the Affected Objects list are affected by the
Repel behavior.
Affected Objects: A list that appears when Specific Objects is chosen in the Affect pop-up
menu. Drag objects from the Layers list into this list to be affected by the Attractor behavior
when the Specific Objects option is selected in the Affect pop-up menu. To remove an
item from the list, select the item and click Remove.
• Layer: This column lists the name of the layer containing the object.
• Name: This column lists the name of the object.
Strength: A slider defining the speed with which repelled objects move away from the
object. With a value of 0, repelled objects don’t move at all. The higher the value, the
faster repelled objects move.
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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 Rate: This value determines how quickly the force of repulsion between objects
affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting
up to speed as they move away from the object of repulsion. A high Falloff Rate causes
objects to accelerate much more slowly. When set to Exponential, the attraction falls off
more quickly than when set to Linear.
Influence: A slider that defines the radius of the circle of influence in pixels. Objects that
fall within the area of influence move away from the object of repulsion. Objects outside
the area of influence remain in place.
Drag: A slider that can be used to reduce the distance repelled objects travel away from
the repelling object.
Include X, Y, and Z: Buttons that allow you to specify the space in which the objects
move away from the object with the applied Repel behavior. For example, when X and
Y are enabled, the object moves away in the XY plane; when Y and Z are enabled, the
object moves away in the YZ plane.
HUD Controls
The HUD has controls for which objects are affected, as well as for Strength, Falloff Type,
Falloff Rate, Influence, axis assignment, and Drag.
Related Behaviors
• Repel From
Repel From
Whereas the Repel behavior pushes other objects away, the Repel From behavior has the
converse effect, making the object it’s applied to move away from a selected object in
the Canvas.
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: An image well that defines the object to be repelled from.
Strength: A slider defining the speed at which the object is repelled. With a value of 0,
the object is not repelled at all. The higher the value, the faster the object is repelled.
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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 Rate: This value determines how quickly the force of repulsion between objects
affected by this behavior falls off. A low Falloff Rate value results in objects quickly getting
up to speed as they move away from the object of repulsion. A high Falloff Rate causes
objects to accelerate much more slowly. When set to Exponential, the attraction falls off
more quickly than when set to Linear.
Influence: A slider that defines the radius of the circle of influence in pixels. Objects that
fall within the area of influence move away from the object of repulsion. Objects outside
the area of influence remain in place.
Drag: A slider that can be used to reduce the distance the object or objects travel away
from the repelling object.
Include X, Y, and Z: Buttons that allow you to specify the space in which the object
moves away from the selected 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 has an image well you can use to assign an object to move away from, as well
as controls for Strength, Falloff Type, Falloff Rate, Influence, axis assignment, and 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
• Repel
Rotational Drag
This behavior is similar to the Drag behavior, except that it affects Rotation instead of
position. Rotational Drag simulates friction affecting objects that are spinning due to
keyframed or behavior-driven changes to the Rotation parameter. By setting higher Drag
values, you can slow rotational changes to an eventual stop.
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.
Amount: A slider that can be used to slow down an object’s rotation over time, causing
it to eventually come to a stop. Higher Amount values result in the rotation ending sooner.
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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. The Attract
To parameter defines the object that serves as the target and center of the Spring behavior.
Additional parameters let you adjust the speed of the behavior (Spring Tension) and the
acceleration of the object at each change in direction (Relaxed Length).
If the Attract To object is at rest, the resulting motion is fairly simple and the springing
object moves back and forth in a straight line. If the Attract To object is in motion, the
springing object’s motion is much more complex, changing direction according to the
velocity of the Attract To object.
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.
Attract To: An image well that defines the object of attraction. To set the defined target
object, drag the object from the Layers list to the Attract To well in the Spring HUD or
Inspector. In the Layers list, you can also drag the target object onto the Spring behavior.
Spring Tension: A slider that determines how fast the object is pulled toward the object
of attraction.
Relaxed Length: The distance from the target object where object attraction diminishes
to zero. As the springing object’s distance increases past this point, the force of attraction
increases proportionally, to bring it back toward the target object.
Repel: With this checkbox selected, when the object gets closer to the object of attraction
than the Relaxed Length value, the objects are pushed apart. When this checkbox is
deselected, no repelling force is applied.
Include X, Y, and Z: Buttons that allow you to specify the space in which the affected
object moves back and forth around the assigned object. For example, when X and Y are
enabled, the object moves back and forth in the XY plane; when Y and Z are enabled,
the object moves back and forth in the YZ plane.
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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.
Related Behaviors
• Attracted To
• Attractor
• Drift Attracted To
• Drift Attractor
• Orbit Around
• Vortex
Vortex
The opposite of the Orbit Around behavior. Whereas the Orbit Around behavior causes
one object to orbit around another target object, the Vortex behavior exerts a force on
all objects surrounding the object to which the Vortex behavior is applied.
Parameters in the Inspector
Affect: A pop-up menu that limits which objects in your project are affected by the Vortex
behavior. There are three options:
• All Objects: All objects in the Canvas are affected by the Vortex behavior.
• Related Objects: The default setting. Only other objects in the same group as the object
of attraction are affected.
• Specific Objects: Only objects appearing in the Affected Objects list are affected by the
Vortex behavior.
Affected Objects: A list that appears when Specific Objects is chosen in the Affect pop-up
menu. Drag objects from the Layers list into this list to be affected by the Attractor behavior
when the Specific Objects option is selected in the Affect pop-up menu. To remove an
item from the list, select the item and click Remove.
• Layer: This column lists the name of the layer containing the object.
• Name: This column lists the name of the object.
Strength: A slider defining the speed at which the affected objects move about the object
of attraction.
Falloff Type: A pop-up menu that determines whether the distance defined by the
Influence parameter falls off linearly or exponentially. The default is Linear.
• Linear: Object attraction falls off in proportion to the object’s distance.
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• 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. When set to Exponential, the attraction falls off
more quickly than when set to Linear.
Influence: A slider that defines the radius of the circle of influence, in pixels. Objects that
fall within the area of influence move toward the object of attraction. Objects outside
the area of influence remain in place.
Drag: The default value for Vortex is 0, which results in a stable vortex. Any other value
causes the vortex to decay and the object to spiral into the object of attraction.
Include X, Y, and Z: Buttons that allow you to specify the space in which the objects
vortex around the target object. For example, when X and Y are enabled, the object circles
around in the XY plane; when Y and Z are enabled, the object circles around in the YZ
plane.
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. For more information, see this parameter’s
discussion in Orbit Around.
Direction: A pop-up menu that lets you set whether objects move around in a clockwise
or counterclockwise direction.
HUD Controls
The HUD has a pop-up menu that lets you limit the objects affected by this behavior, as
well as controls for Strength, Falloff Type, Falloff Rate, Influence, Drag, axis assignment,
and Direction.
Related Behaviors
• Attracted To
• Attractor
• Drift Attracted To
• Drift Attractor
• Orbit Around
• Spring
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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. You can apply another behavior (such as Randomize or Ramp) or
keyframe the Velocity parameter of the Wind behavior to vary the speed and direction
of the object. You cannot make gradual changes in speed or direction with the Throw
behavior.
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.
Air Thickness: A slider and value slider that adjust how fast the object accelerates on the
X, Y, or Z axis when the speed is changed. Lower values (simulating thinner air) have less
effect when pushing the object, so it takes longer to get up to speed. Higher values
(thicker air) have more effect and push the object up to speed more quickly.
Velocity: A slider and value slider that adjust the speed on the X, Y, or Z axis where the
simulated air is blowing the object. Higher values result in faster motion.
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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.
Direction and speed
Scale of the control
Press the Shift key while dragging the arrow to constrain it to 45 degree angles. Press the
Command key to change the arrow’s direction without affecting its length.
When you click the 3D button, the HUD allows you to use the center arrow control to
define the direction the object is “blown” by the wind in 3D. The Speed slider (on the left
side of the HUD) lets you increase or decrease the velocity of the blown object.
Direction in X, Y, and Z
Speed of the wind
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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.
• For more information about Audio behaviors, see Audio Behaviors.
• For more information about Camera behaviors, see Camera Behaviors.
• For more information about Particles behaviors, see Using Particles Behaviors.
• For more information about Replicator behaviors, see Using the Sequence Replicator
Behavior.
• For more information about Shape behaviors, see Shape Behaviors.
• For more information about Text behaviors, see Text Animation and Text Sequence
Behaviors.
• For more information about the Motion Tracking behaviors, including the Track
parameter behavior, see Motion Tracking Behaviors.
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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. For example, you can
create a single slider that changes the size, color, and tracking of a text object, while
simultaneously adjusting the Throw Velocity of a background graphic. Similarly, you can
create a checkbox that controls shadows and reflections for all objects in the project.
This chapter explains how to create and modify rigs to organize and simplify your workflow.
This chapter covers the following:
• About Rigging and Widgets (p. 480)
• How Rigging Works (p. 480)
• Building a Rig (p. 481)
• Managing Parameter Snapshots (p. 489)
• Controlling Rigs from Parameter Animation Menus (p. 493)
• Animating Widgets (p. 495)
• Using Rigs in Motion (p. 495)
• Publishing Rigs (p. 497)
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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. There is no limit to the number of parameters each widget
affects, and you can use multiple widgets in a rig to create a customized control panel
where a few controls modify a wide range of parameters in the project.
You can publish widgets for use in Final Cut Pro X. When the template is opened in
Final Cut Pro, only the rig controls you specified in Motion are visible, allowing you to
modify a complex of parameters with a small set of controls.
Rigging is useful for a number of reasons. In addition to simplifying the workflow in
template modification, rigging can be used to limit the kind and value of changes
allowable in a template, ensuring that junior compositors and others in the production
pipeline adhere to established specs and client needs.
How Rigging Works
Rigging works through the use of snapshots. A snapshot is a record of the current state
of selected parameters in your project. Widgets allows you to switch between or even
interpolate between stored snapshots. For example, you can create a snapshot where
several text objects feature black type with a white shadow, and another snapshot that
features white text with a black shadow. A checkbox widget in a rig toggles between the
two states.
A checkbox widget that toggles between two states is the simplest rigging control. Slightly
more complex is the pop-up menu widget, which lets you select between multiple
parameter states. The slider widget offers more advanced control over multiple parameter
states. For example, a slider widget lets you make gradual changes from one state to
another or even use keyframes to control how the slider widget changes. You can choose
which parameters are modified in the snapshot in a number of ways (described in more
detail in Managing Parameter Snapshots.)
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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. (As previously noted, checkbox widgets can only
save two snapshots.)
Because a parameter cannot be controlled simultaneously by two widgets, you cannot
duplicate (or cut/copy and paste) a rig or widget object. Similarly, if you duplicate or copy
and paste an object with rigged parameters, the new object’s parameters are not rigged.
Further, if a parameter is assigned to a widget, that parameter cannot be modified while
you are recording a different widget’s snapshot. For example, if you have a slider widget
controlling a shape object’s color, and you begin recording a snapshot for a different
widget, the shape’s color is not modifiable.
Some parameter types cannot be rigged. Some parameters that use the mini-curve editor
to affect an object over a range (such as the various “over stroke” parameters in the Shape
inspector) cannot be added to a rig or modified while recording a snapshot. If you modify
a parameter that cannot be rigged in edit mode, the change is applied globally—affecting
all snapshots containing that object.
Building a Rig
A rig is a container for widgets. Adding a rig has no effect until you begin to add widgets
and create snapshots for the widgets to control. A project can have an unlimited number
of rigs, and each rig can have an unlimited number of widgets.
To add a rig to a project
Do one of the following:
µ
Choose Object > New Rig (or press Command-Control-R).
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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. You must add them
manually. (For more information, see Adding Widgets to a Rig.) However, when you add
a rig using the Animation menu, the widget you choose in the menu is created
immediately and appears in the Rig Inspector, the HUD, and the Layers list (underneath
the Rig object).
Note: Although rigs and their widgets appear as blank tracks in the Timeline, slider widgets
can be keyframed, and those keyframes can be displayed in the Timeline.
Adding Widgets to a Rig
A rig has no effect until it contains a widget. Widgets are special controls used to drive
parameters in the project. Widgets can be reordered and renamed. Renaming widgets
can be important if you have multiple widgets of the same type. Otherwise you see a list
of controls that have identical, generic names.
HUD showing generic widget names
HUD showing customized widget names
When viewing the Widget Inspector, the controls for the widget are displayed. When
viewing the Rig inspector, controls for all of widgets in the rig are displayed.
When a single widget is selected, the HUD displays only the widget control, not the
parameters used to modify the widget or the parameters driven by the widget.
When a rig is selected, the HUD shows all widget controls assigned to that rig (as seen
in the two-up figure above).
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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. For more information, see
Controlling Rigs from Parameter Animation Menus.
Widgets are represented in four places in the Motion project window:
• In the Layers list, under the parent rig.
• In the Rig Inspector. If the rig has multiple widgets, they all appear here.
• In the HUD.
• In the Widget Inspector.
µ
To reorder widgets in a rig
In the Layers list, drag the widgets into the order you want them to appear.
µ
To rename a widget
Click the widget name in the Layers list and enter a new name.
Note: If the widget has been published, the name change does not carry through to the
published parameter. To synchronize names, rename the widget manually in the Publishing
pane of the Project Inspector, or unpublish and republish the newly named widget.
Moving Widgets Between Rigs
If there are multiple rigs in a project, widgets can be moved easily between the different
rigs.
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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. Change the
default name by double-clicking the widget name in the Layers list, then entering a name.
Note: Widget names cannot be changed in the Inspector.
Checkbox
Checkbox widgets allow you to switch between two snapshots, that is, between two sets
of parameter states. Typically, checkbox widgets are used to create an on/off type of
effect, although you can store any parameter states in either snapshot, creating more of
a toggle effect.
The activation checkboxes in the Rig Inspector (highlighted blue when selected) and in
the Layers list (beside the checkbox widget) have no effect on the constituent parameters
of the checkbox.
Checkbox widgets contain the following controls in the Rig Inspector and Widget Inspector:
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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. 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. Parameters controlled by a rig display a special icon (a joystick)
on the right side of the parameter row in the Inspector.
Pop-up Menu
Pop-up menu widgets are similar to checkbox widgets but allow you to save more than
two parameter states (snapshots). Each item in a pop-up menu widget represents a
snapshot. When you choose an item in the pop-up menu, the affected parameters in
your project toggle to a different saved state.
The activation checkboxes in the Rig Inspector (highlighted blue when selected) and in
the Layers list (beside the pop-up menu widget) have no effect on the constituent
parameters of the pop-up menu.
Pop-up menu widgets contain the following controls in the Rig Inspector and Widget
Inspector:
Pop-up: Use this widget control to switch between multiple saved snapshots.
Rename: Use this button to enter a custom name for the item in the pop-up menu.
Add/Delete: Click the Add button (+) to add an item to the pop-up menu; click the Delete
button (–) to remove the item in the list. Each item represents a new snapshot.
Edit Mode: Click the Start button to enable snapshot recording. For more information
about recording snapshots, see Managing Parameter Snapshots.
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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. Parameters controlled by a rig display a special icon (a joystick)
on the right side of the parameter row in the Inspector.
Initial Value: Use this control (in the Options section) to set the initial value for the pop-up
menu widget when it is published and used as a template in Final Cut Pro X. There are
three options:
• Last Saved: When the template is used in Final Cut Pro, the pop-up menu value defaults
to the menu item assigned when the project was last saved. This option ensures a
consistent pop-up menu state, while still permitting users to choose alternate states
manually. This is the default setting.
• Sequential: Each time the template is used (in a single project) in Final Cut Pro, the
setting of this pop-up menu changes, rotating through the available menu items. The
first time the template is used, this pop-up menu defaults to the first menu item. The
next time the template is used, the pop-up menu is set to the second menu item, and
so on. For example, in a wipe transition template with a pop-up menu widget assigned
to control the shape of the wipe, the first time you add the template to the Final Cut Pro
timeline, the wipe is a star; the next time you apply the template to the Final Cut Pro
timeline, the wipe is a circle, and so on.
• Random: Each time the template is used in Final Cut Pro, another menu item from this
pop-up menu is assigned by default. For example, in a title template with a pop-up
menu widget assigned to control the title’s font, each successive time the title is used
in a project, a font is randomly selected from the font list.
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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. For
example, in a slider mapped to the Color parameter, adding a tag midway between
snapshot tags set to red and blue generates a snapshot set to purple.
Snapshot tags can be dragged left and right and even reordered.
To delete a snapshot tag, drag it away from the area under the slider.
Clicking a snapshot tag sets the value of the slider to the tag's value and enables the tag’s
snapshot for editing. Setting the slider to values between tags causes the rigged parameter
values to be interpolated between the surrounding snapshot values.
The activation checkboxes in the Rig Inspector (highlighted blue when selected) and in
the Layers list (beside the slider widget) have no effect on the constituent parameters of
the slider.
Slider widgets contain the following controls in the Rig Inspector and Widget Inspector:
Slider: Use this widget control to move between snapshots. The snapshot tags beneath
the slider indicate the saved snapshots.
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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.
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. Parameters controlled by a rig display a special icon (a joystick)
on the right side of the parameter row in the Inspector.
Range Minimum: Use this parameter (in the Options section) to set the low end of the
numeric range displayed next to the slider widget. For example, if you want the slider
widget to range from 0 to 11, set Range Minimum to 0.
Range Maximum: Use this parameter (in the Options section) to set the high end of the
numeric range displayed next to the slider widget. For example, if you want the slider
widget to range from 0 to 11, set Range Maximum to 11. If you want the slider widget
to range from 0 to 100, set Range Maximum to 100.
Note: Range Minimum and Range Maximum have no effect on the actual parameter
values that the slider widget controls. Range Minimum and Range Maximum merely
designate an arbitrary numeric range that is displayed next to the slider widget.
Interpolation: A pop-up menu (in the Options section) controlling how values on the
slider are interpolated. The interpolation applies to the segment of the slider between
the current tag and the next one. You can set interpolation methods for each segment
of the slider. By default, all segments are set to Linear. There are three options:
• Constant holds the value of the first snapshot until the slider reaches the next snapshot,
at which point the parameter changes. (This is similar to changing states using a pop-up
menu widget.)
• Linear creates a simple interpolation between states.
• Ease creates a smooth interpolation, where the effect is weighted towards the nearer
snapshot tag.
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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.
Recording Snapshots on the Fly
When you click the Edit Mode Start button in the Widget Inspector or Rig Inspector,
Motion records parameter changes you make (including parameters you animate). A
window appears containing a Stop Rig Edit Mode button.
While Rig Edit Mode is active, you can modify parameters in your project. The parameter
changes you make are stored in the current snapshot. (Other snapshots in the rig are
unaffected.)
After you stop Rig Edit Mode, any parameter you modified (in the Canvas, or in the HUD
or Inspector) is added to the Widget Inspector, and its state is saved in the snapshot.
Note: Only one snapshot can be modified per edit mode session. To edit more than one
snapshot, end the editing session, select another snapshot (by clicking another snapshot
tag for a slider, by choosing a new menu item for a pop-up menu, or by changing the
state of a checkbox), then start a new edit mode session.
Parameters affected by a rig display a joystick icon on the right side of the parameter
row.
Indicates parameter is
controlled by a rig.
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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. After a parameter is assigned
to a widget, you cannot assign that parameter to additional widgets.
You can add parameters to a widget after a snapshot is created by clicking the Start Rig
Edit Mode button again and making changes to new parameters, or by manually adding
parameters to the widget. See Controlling Rigs from Parameter Animation Menus.
Important: After a parameter is added to a widget, changes made to that parameter
change the selected snapshot even if Rig Edit Mode is stopped, and even if the Widget
Inspector is not visible.
To record a snapshot on the fly
1 Add a rig to the project by pressing Command-Control-R.
The rig appears in the Layers list.
2 In the Rig Inspector, click the Add Pop-up button (or whichever widget type you prefer).
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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. You can rename them using the Rename button.
4 In the Rig inspector or the Widget inspector, click the Edit Mode: Start button.
A window appears containing a Stop Rig Edit Mode button. The appearance of this
window indicates that you are in Rig Edit Mode.
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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.
How Snapshots Are Saved
This section describes how you can set snapshots manually after parameters are linked
to a widget.
Snapshots are saved in the widget. Any parameter affected by a snapshot is persistently
displayed in the widget (even if that parameter is unmodified by the current snapshot
setting). Parameter controls in widgets are duplicates of the parameter controls they are
linked to.
For checkbox widgets, there are two snapshots: one for the selected state and one for
the deselected state. Making changes to the linked parameters affects the snapshot for
the current state of the checkbox.
For pop-up menu widgets, there are as many snapshots as there are menu items. Add
menu items by clicking the Add button (+) to the right of the pop-up menu in the Widget
Inspector. Making changes to the parameters affects the selected pop-up menu item.
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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.
You can add a parameter to a rig, reveal a widget affecting a parameter, reveal the original
parameter from its linked widget control, remove a parameter from a widget, or create
a rig to affect a parameter. You can do all these tasks via the Animation menu for the
relevant parameter in the Inspector.
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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.
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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].
The parameter is removed from the widget.
Note: Parameters can be removed from a widget in the parameter list in the Widget
Inspector or in the Inspector containing the original parameter.
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To reveal the widget driving a parameter
In the Inspector, open the Animation menu (the downward arrow on the right) for the
parameter, then choose Reveal Widget [name of widget].
The Inspector displays the Widget pane.
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To reveal the original parameter used in a widget
In the Widget inspector (not the Rig Inspector), open the Animation menu (the downward
arrow on the right) for the parameter, then choose Reveal Target Parameter.
The Inspector containing the original parameter is opened and the parameter name
briefly blinks yellow.
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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. Treat the widget as you would another
parameter when manipulating a snapshot for a widget.
Note: You cannot create recursively controlled widgets. That is, you cannot use one
widget to drive a second widget that’s already driving the first.
For more information about using keyframes, see Keyframing in Motion.
Using Rigs in Motion
Although rigs are often used to build master controls for use in Final Cut Pro X projects,
they are also useful in Motion, to simplify the control set of a complex project. Instead of
making changes by manipulating individual parameters, you can modify the Motion
project using just a few widgets in a rig.
After a rig is built, it is immediately active. You can use the controls in the HUD, Rig
Inspector, or Widget Inspector to make changes to the project.
Use the HUD to view the widgets without the other rig-related controls visible in the
Inspector. Using rigs this way can be helpful when sharing a complex project with other
users or when creating a project that must modified each time it is used.
For example, you can create a basic project for an animated lower-third title that
incorporates two text objects, a background replicator, and a lens flare generator that
moves across the text.
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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.
Alternatively, you can publish the widgets and use the Project object (in the Layers list)
as a custom control pane in the Inspector. For more information about publishing, see
Publishing Rigs.
You can even apply keyframes to a slider widget to create dynamic animated effects
based on saved snapshots in the slider. Pop-up menu and checkbox widgets cannot be
keyframed, nor can they accept behaviors.
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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.
Multiple rigs
Publishing Rigs
One of the most common reasons to employ rigs is to create a simplified set of controls
for template projects for use in Final Cut Pro X. This is achieved by publishing completed
widgets to the Publishing pane of the Project Inspector in Motion. To publish a rig, you
must publish its widgets individually. Widgets can be published like any other parameter
in Motion.
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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. For more information about
publishing, see Publishing Parameters in Templates.
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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.
Special-effect projects created in Motion 5 for use in Final Cut Pro X are called templates.
When you save a template in Motion, it becomes available in one of the Final Cut Pro
media browsers. For example, a transition template saved in Motion appears in the
Transitions Browser in Final Cut Pro, ready to be applied to an editing project.
Additionally, most existing effects, transitions, titles, and generators in Final Cut Pro can
be opened and modified in Motion.
This chapter describes how to build and modify templates in Motion 5 for use in
Final Cut Pro X. For additional suggestions about streamlining the Motion-to-Final Cut Pro
workflow, see Tips for Creating Templates.
This chapter covers the following:
• About Templates (p. 500)
• Creating an Effect for Final Cut Pro X (p. 507)
• Modifying a Final Cut Pro X Effect in Motion (p. 509)
• Example: Modifying the Bokeh Random Effect (p. 510)
• Advanced Example: Creating an SLR Effect Template Using Rigging (p. 514)
• Creating a Title for Final Cut Pro X (p. 527)
• Modifying a Final Cut Pro X Title in Motion (p. 530)
• Creating a Transition for Final Cut Pro X (p. 531)
• Modifying a Final Cut Pro X Transition in Motion (p. 534)
• Example: Creating a Prism Blur Transition (p. 535)
• Creating a Generator for Final Cut Pro X (p. 538)
• Modifying a Final Cut Pro X Generator in Motion (p. 540)
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• 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. 564)
About Templates
A Final Cut template is a special type of Motion project: After it is saved in Motion, the
template appears in one of the Final Cut Pro X media browsers, where it can be applied
to an editing project like any other effect, title, generator, or transition that ships with
Final Cut Pro.
There are four types of Final Cut templates:
• Final Cut Effect: Use this template to create a custom stylized effect that can be applied
to edits and clips in the Final Cut Pro Timeline. An effect can subtly or dramatically
shape the character of your editing project. A sepia-tone color correction might make
an audience think of days gone by, while a radiant glow might suggest an otherworldly
setting. After you save the template in Motion, the effect appears in the Effects Browser
in Final Cut Pro.
• Final Cut Transition: Use this template to create a custom transition that can be applied
to clips in the Final Cut Pro Timeline. A transition artfully connects the edit point between
two clips. One scene might dissolve into the next in a cloud of smoke, or one setting
might displace another on a turning page. After you save the template in Motion, the
transition appears in the Transitions Browser in Final Cut Pro.
• Final Cut Title: Use this template to create a custom text animation that can be added
to a Final Cut Pro sequence. Text might flare in or out in a fiery glow, or fall into place
from offscreen. After you the save the template in Motion, the title effect appears in
the Titles Browser in Final Cut Pro.
• Final Cut Generator: Use this template to create generalized graphical content that can
be added to a Final Cut Pro project. A Final Cut Generator is nearly identical to any
other Motion project—it can include text, shapes, replicators, camera moves and
lighting, generators, and so on. It can be static or animated. After you the save the
template in Motion, the generator appears in the Generators Browser in Final Cut Pro.
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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. For more information on working
in 3D, see 3D Compositing. For more information on animation in templates, see
Animation Guidelines.
Publishing Parameter Controls from Motion to Final Cut Pro X
When you create a template in Motion, you can limit or lock specific parameters to prevent
Final Cut Pro X users from modifying crucial elements in the resulting effect. For example,
you might want to prohibit a staff editor from changing the intensity of a glow effect to
be applied to a clip in Final Cut Pro. At the same time, you might want to allow her to
modify the color of the glow. You set these end-user constraints by choosing which
adjustable parameter controls to publish. Published parameters appear in the Final Cut Pro
Inspector, where they can be edited and animated.
When creating templates in Motion, you have the following publishing options:
• You can publish no parameters, making the effect a nonmodifiable preset with no
adjustable controls in the Final Cut Pro Inspector.
• You can publish specific parameters, giving users limited control over modifications
made in the Final Cut Pro Inspector.
• You can publish rig widgets, which map multiple parameters to a few pop-up menus,
sliders, or checkboxes. Rigs simplify parameters by combining them into a single control
in the Final Cut Pro Inspector. Rigs can also be used to limit the adjustable range of a
parameter in Final Cut Pro. For more information on using and publishing rig controls,
see Using Rigs.
For a step-through example of creating a Final Cut Effect that includes a rig, see
Advanced Example: Creating an SLR Effect Template Using Rigging.
For more information on publishing template parameters, see Publishing Parameters in
Templates.
Note: Some parameters in Motion cannot be published to Final Cut Pro.
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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. (Placeholders, which appear in the
Canvas as downward arrow graphics, are similar to drop zones in standard Motion projects.)
You can drag an image or video clip into a placeholder layer to preview the effect you’re
building, but those images do not appear in the Final Cut Pro project. This is because
effect, transition, and title templates are intended to modify footage in the Final Cut Pro
Timeline, not images and footage in Motion.
Even though images in the placeholder layers do not appear in the resulting Final Cut Pro
effect, any new layers you add to a template (shapes, paint strokes, images, and so on)
and their applied effects (lighting, camera moves, filters, for example) are visible in the
Final Cut Pro project. These layers, which appear composited over the clip the effect is
applied to, cannot be separated from the effect. For this reason, it is ill-advised to add
image layers to effect, transition, and title templates.
However, in generator templates there are no image restrictions. Because generator
templates deliver image content (not just special effects) to Final Cut Pro, images, clips,
and applied effects are propagated to the Final Cut Pro project and appear in the Viewer
when applied.
Note: Although you can drag a video clip into a placeholder layer for preview purposes,
the clip’s duration can interfere with timing built into the template. For that reason, it’s
better to use still images in templates when you need to preview an effect. Additionally,
complex Motion layer effects such as particle emitters and replicators are not
recommended for use in any template types, because they might negatively affect
Final Cut Pro performance.
When you save a template in Motion, the effect is exported to the relevant Final Cut Pro
media browser (the Effects Browser, Titles Browser, Transitions Browser, or Generators
Browser). When the template is added to the Timeline or applied to a clip in the Timeline,
an on/off activation checkbox and published parameter controls appear in the
Final Cut Pro Inspector.
The following sections describe each template type.
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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. (Images or clips used in the
Motion placeholder layer appear in the Effects Browser icon, but are not applied to the
clip in the Final Cut Pro Timeline.) The duration of the effect is determined by the length
of the Final Cut Pro clip it is applied to.
You can use template markers to control the timing of the sections of an effect template.
For more information, see Working with Markers in Templates.
You cannot delete the Effect Source placeholder from an effect template. Nor can you
create additional Effect Source placeholders. Although you can add more image layers
to an effect template (and have them appear in the applied effect in Final Cut Pro), it’s
not recommended. This template was designed for a single purpose: to apply one custom
visual effect to a Final Cut Pro clip.
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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.
In Final Cut Pro, apply the transition to an edit point in the Timeline. (Images or clips in
the Motion placeholder layer appear in the Transitions Browser icon, but are not applied
to the clip in the Final Cut Pro Timeline.) The duration of the transition is determined by
the project settings in the Editing pane of Final Cut Pro Preferences. When creating the
transition in Motion, you can set the template to override the default transition duration
in Final Cut Pro. The transition also has adjustable In and Out points in the Final Cut Pro
project.
You can add drop zones to a transition template to add a background element in the
transition. For more information, see Creating a Transition Background.
You cannot delete the Transition A and Transition B placeholders from a transition
template. Nor can you create additional Transition placeholders. Although you can add
more image layers to a transition template (and have them appear in the applied effect
in Final Cut Pro), it’s not recommended. This template was designed for a single purpose:
to apply one custom transition to the edit point between two Final Cut Pro clips.
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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. (The
preview image does not appear in Final Cut Pro.) Or, if you don’t want to modify the clip
in Final Cut Pro, delete the Title Background placeholder.
When you save the template in Motion, the new title effect is automatically exported to
the Final Cut Pro Titles Browser. There are two ways to apply a title effect in Final Cut Pro:
• Drag the title effect above a clip (or clips) in the Timeline to the frame. When you release
the mouse button, the title is anchored to the clip, and the clip is used as the
background. The title can span multiple clips in the Timeline. The clips populate the
title background placeholder, so underlying clips assume any transforms, filters, and
so on that were applied to the placeholder in Motion.
• Add the title effect to the main Timeline as a clip. If the title effect contains a Title
Background placeholder, the placeholder is ignored, and a background clip cannot be
specified.
If the title effect is added as a clip to the main Timeline in Final Cut Pro X, you can use
a standard drop zone to specify a background source clip. For more information, see
Creating a Title Background.
When added to the Final Cut Pro Timeline, the duration of the title effect is the same as
the template created in Motion. The title effect has adjustable In and Out points in the
Final Cut Pro project.
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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.
Final Cut Generator Template
The Final Cut Generator template contains no placeholder layers. In fact, the generator
template is nearly identical to any other Motion project. Add image layers and effects to
create a composition just as you would in a standard Motion project.
When you save the template in Motion, the generator effect is automatically exported
to the Final Cut Pro Generators Browser. There are two ways to apply a generator effect
in Final Cut Pro:
• Drag the generator above a clip (or clips) in the Timeline to the frame, compositing
the generator over the clip. The generator can span multiple clips in the Timeline.
• Add the generator to the main Timeline as a clip.
When added to the Final Cut Pro Timeline, the duration of the generator is the same as
the template created Motion. The generator has adjustable In and Out points in the
Final Cut Pro project.
Standard drop zones can be added to Final Cut Generator template. For more information
about drop zones, see Drop Zones.
Note: A standard Motion project can also be published as a generator in Final Cut Pro.
For more information, see Publishing a Standard Motion Project as a Final Cut Pro X
Template.
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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. The difference between the placeholder and the drop zone lies in how
each is used in a Final Cut Pro project: When you apply a template in a Final Cut Pro
project, the target clip populates the placeholder, while drop zones remain empty until
you assign source media (in Final Cut Pro).
After you assign source media to a drop zone, you can use onscreen controls to pan or
scale the media within the drop zone. For more information on standard drop zones,
see Drop Zones.
Creating an Effect for Final Cut Pro X
Use the Final Cut Effect template to create a custom effect for use in Final Cut Pro X.
For detailed information on the Project Browser, see The Project Browser. For information
on applying and editing effects in Final Cut Pro X, see Final Cut Pro X Help.
For an example of creating a Final Cut Effect that includes a rig, see Advanced Example:
Creating an SLR Effect Template Using Rigging.
To create a new effect template
1 In Motion, choose File > New From Project Browser (or press Command-Option-N).
The Project Browser appears.
2 In the Project Browser, click Final Cut Effect, 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 Effect in the Project
Browser.
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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. When the pointer becomes a curved arrow, release the mouse button.
Be sure to drag the image from the File Browser or Library to the placeholder. If you
accidentally place the image into a new layer, you can’t move it to the placeholder layer.
The image is added to the Effect Source layer, replacing the arrow graphic in the Canvas,
and is resized if it is not the same size as the project. The image is temporary media used
to preview the result of the effect you are building. It is not used in the Final Cut Pro X
effect.
5 Add filters or behaviors to the Effect Source layer to create a custom effect.
The filter and behavior parameters can be modified and animated. For more information
on working with filters, see Using Filters. For more information on behaviors, see Using
Behaviors.
6 To allow Final Cut Pro users to modify specific parameters, choose Publish from the
Animation pop-up menu of each parameter you want to make accessible.
Publishing a parameter makes its user interface control (the slider, checkbox, or dial)
available in the Final Cut Pro Inspector when the custom effect is applied to a clip.
Published parameters can be adjusted and keyframed in Final Cut Pro. For more
information, see Publishing Parameters in Templates.
Tip: In addition to publishing specific parameter controls, you can publish the blue
activation checkboxes that appear next to filter and behavior names in Motion Inspectors.
When you publish an activation checkbox (via its Animation pop-up menu), a
corresponding checkbox appears in the Final Cut Pro Inspector, allowing users to turn
the influence of that filter or behavior on or off. For more information, see Publishing
Parameters in Templates.
7 Optional: When you're satisfied with the custom effect you’ve built, you can remove the
preview image from the template by selecting the Effect Source layer, then clicking the
Clear button in the Image Inspector.
The temporary image is removed from the project.
8 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.
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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.
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.
9 Click Publish.
The template and remaining media are saved and exported to the Final Cut Pro Effects
Browser.
For information about applying and editing effects in Final Cut Pro, see Final Cut Pro Help.
Modifying a Final Cut Pro X Effect in Motion
The presets in the Final Cut Pro X Effects Browser were created in Motion. You can modify
these presets in Motion, then save them as effects in Final Cut Pro.
For a step-through example of modifying a preset Final Cut Effect, see Example: Modifying
the Bokeh Random Effect.
To modify a Final Cut Pro X effect in Motion
1 In Final Cut Pro X, click the Effects Browser button in the toolbar.
The Effects Browser appears.
2 Locate the effect to edit.
To preview the effect, move the pointer over the effect’s thumbnail.
3 Control-click the effect and do one of the following:
• If the effect 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 Effects Browser.
• If the effect is a template created in Motion, choose “Open in Motion” from the shortcut
menu.
The original project opens in Motion.
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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.
• To save the updated Motion-created template and overwrite the original version, choose
File > Save.
• 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 the Effects Browser in Final Cut Pro.
Example: Modifying the Bokeh Random Effect
In Final Cut Pro X, the Bokeh Random effect adds moving, blurred particles to a clip. The
shape, blend mode, speed, and other particle parameters of the effect can be edited in
Final Cut Pro X. Most Final Cut Pro X effects (as well as transitions, titles, and generators)
can be opened and modified in Motion to limit or add parameter controls.
Note: Bokeh comes from the Japanese term “boke,” meaning blur or haze. Bokeh is a
term used in photography to describe the aesthetic quality of a blurred image.
To inspect the Bokeh Random effect in Final Cut Pro X
1 In Final Cut Pro X, select a clip in the Timeline, then click the Effects Browser button in
the toolbar.
2 In the Effects Browser, select the Light category, then move the pointer back and forth
over the Bokeh Random thumbnail.
A preview of the effect plays in the Viewer.
3 To apply the effect to the selected clip, do one of the following:
• Double-click the Bokeh Random effect.
• Drag the effect to the clip in the Timeline. When the clip is highlighted and the add
pointer (+) appears, release the mouse.
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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.
7 Click the Reset button (the curved arrow at the end of the activation checkbox row) to
set the parameters back to their default values.
In the next task, a copy of the Bokeh Random effect is opened and edited in Motion so
that the option to change the shape of the particles is removed from the effect, and the
option to change the color of the particles is added to the effect.
To add a parameter to the Bokeh Random effect’s Final Cut Pro X Inspector
1 In the Final Cut Pro X Effects Browser, Control-click the Bokeh Random effect, then choose
“Open a copy in Motion” from the shortcut menu.
A copy of the template opens in Motion, and the duplicated file appears in the Final Cut Pro
Effects Browser.
2 If necessary, choose Fit in Window from the Zoom Level pop-up menu above the Motion
Canvas.
Optional: To better see the effect you are modifying, drag a still image from the File
Browser to the Canvas, releasing the mouse button when the pointer changes to a curved
arrow and the placeholder is highlighted with a yellow border in the Canvas.
Note: This image is not saved with the Bokeh Random copy to the Final Cut Pro Effects
Browser.
3 In the Layers list, click the Project object, then click Publishing in the Project Inspector.
The controls that are published in the preset Bokeh Random effect are listed: Type, Blend
Mode, Size, Number, Pattern, Speed, Blur Amount, and Opacity. Several of the published
parameters are rig widgets. For detailed information on rigs and widgets, see Using Rigs.
When a parameter is published, it becomes available in the Final Cut Pro Inspector. For
detailed information on publishing, see Publishing Parameters in Templates.
4 In the Layers list, open the Bokeh group, then open the Hexagons and Circles groups.
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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.
7 Do one of the following:
• Click the Color parameter’s Animation menu (the downward triangle that appears when
you place the pointer over the right side of the parameter row), then choose Publish.
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• 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.
To remove a parameter from the Bokeh Random effect’s Final Cut Pro X Inspector
1 In the Publishing pane of the Project Inspector, do one of the following:
• Click the Type 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.
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• 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. Neither option has any
affect when the template is applied in Final Cut Pro.
Note: To save the effect with a different name or to a different category in the Effects
Browser, choose File > Save As. The initially created file (Bokeh Random Copy) remains
in the Final Cut Pro Effects Browser and Motion Project Browser, but can be deleted from
the folders in /Users/username/Movies/Motion Templates.
The effect is now ready for use in Final Cut Pro. Unlike the original preset, Bokeh Random
Copy includes a control to change the color of the particles, and no longer includes a
control to change the shape of the particles.
Advanced Example: Creating an SLR Effect Template Using
Rigging
Advanced Motion users can create sophisticated effects templates for Final Cut Pro X.
The following example describes how to create one such effect, a simulation of an SLR
(single-lens reflex) camera viewfinder changing focus. An SLR camera uses a moving
prism-and-mirror system to show the photographer the image that will be captured on
film. This workflow in this section requires a thorough knowledge of several advanced
Motion techniques, including clones, masks, and rigging. For more information on the
these techniques, see Making Clone Layers, Using Shapes, Masks, and Paint Strokes, and
Using Rigs. The workflow in this example is divided into the following tasks:
• Setting up the template project in Motion
• Creating the "viewfinder" graphics
• Adding a preview image
• Adding masks
• Creating and customizing a new rig
• Publishing the rig widget and effect template to Final Cut Pro
To set up the SLR effect project in Motion
1 Choose File > New (or press Command-N).
2 In the Project Browser, select Final Cut Effect, choose the project preset required for your
Final Cut Pro X project, then click Open.
Note: This example uses the Broadcast HD 720 preset.
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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.”
c Select the Effect Source layer again, then choose Object > Make Clone Layer (or press
K).
d Rename the second Clone Layer “Top Prism.”
e Rename the Effect Source layer “Bottom Prism.”
4 Add new groups to the project:
a In the Layers list, select the Group, then click the Add button (+) in the lower-left corner
of the Layers list four times to create four additional groups.
b Name the bottommost Group (the one containing the clones) “Background Group.”
c Name Group 1 “Bottom Prism Group.”
d Name Group 2 “Top Prism Group.”
e Name Group 3 “Split Prism Group.”
f Name Group 4 “Focus Screen Group.”
Your project should look like the following illustration:
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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.
Your project should look like the following illustration:
In the next task, add shapes to simulate the focus rings found in an SLR viewfinder.
To add the viewfinder focus graphics
1 With the Focus Screen group selected, choose the Circle tool from the Shape pop-up
menu in the Toolbar.
2 Position the pointer in the center of the Canvas and , holding down the Shift and Option
keys, draw a circle in the Canvas.
The circle should be large enough to cover the arrow graphic.
Tip: Choose Grid from the View pop-up menu above the Canvas to display a grid to assist
in the positioning of graphics in the Canvas.
3 Name the circle layer “Outer Ring.”
4 With the Outer Ring layer selected, do the following in the Shape Inspector:
a Turn off Fill by deselecting the blue activation box.
b Turn on Outline by selecting the blue activation box.
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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.
8 In the toolbar, choose Stylize > Halftone from the Add Filter pop-up menu.
A screen pattern is applied to the Texture Ring.
9 In the Filter Inspector, set Contrast to 0.2.
In the next task, add an image (to assist in seeing the effect you are building) and apply
a blur filter. In a later task, you will rig the blur filter to create the changing focus effect.
Add an image and apply a blur filter to the background
1 In the File Browser, drag a still image to the Canvas, releasing the mouse button when
the placeholder in the Canvas is highlighted yellow.
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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.
The blur amount will be modified in a subsequent step (when you build the rig).
In the next task, you will add the masks that create the center of the viewfinder and the
split prisms.
To add the focus screen masks
1 Add a mask to the Texture Ring layer:
a In the Layers list, select the Texture Ring layer.
b Choose the Circle Mask tool from the Mask pop-up menu in the toolbar, position the
pointer in the center of the Texture Ring shape and, holding down the Shift and Option
keys, draw a mask in the Canvas.
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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.
b Choose the Bezier Mask tool from the Mask pop-up menu in the toolbar, then draw a
four-sided shape in the Canvas so that the bottom side crosses the center of the circle
graphics at an angle.
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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).
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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.
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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.
To see the effects of the masks, turn the Background Group off, then turn the Top Prism
Group or Bottom Prism Group off.
4 Add a mask to the Split Prism Group:
a In the Layers list, select the Circle Mask that you applied to the Texture Ring layer, then
press Command-D.
b Drag the Circle Mask copy to the Split Prism Group, then turn off the Background Group
to see the effect of the mask.
When the mask is applied to the Split Prism Group, it retains its inverted state, but
changes in scale. This is because the mask was applied to an object that has been scaled
(the Texture Ring). When applied to an object that is not scaled, the mask is applied at
its nonscaled size.
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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.
To create the SLR effect rig
1 In the Layers list, select the Top Prism clone layer (not the Top Prism Group) and in the
Properties Inspector, do the following:
a Click the Position parameter disclosure triangle to show the X, Y, and Z subparameters.
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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.
2 Select the Bottom Prism clone layer, and in the Properties Inspector, do the following:
a Click the Position parameter disclosure triangle to show the X, Y, and Z subparameters.
b Control-click the X Position parameter name, then choose Add to Rig > Rig > Add To
Slider from the shortcut menu.
3 In the Layers list, select the Gaussian Blur filter, then do the following:
a Open the Filters Inspector.
b Control-click the Amount parameter name, then choose Add to Rig > Rig > Add To
Slider from the shortcut menu.
4 In the Layers list, select the Rig.
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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. In the third snapshot, the bottom prism shifts to the
right and the background image appears out of focus.
For detailed information on using rigs, widgets, and snapshots, see Using Rigs.
To create the SLR rig’s snapshots
1 In the Layers list, select the Background Group checkbox to see the effect of the snapshots
as you create them.
2 In the Rig Inspector, double-click just below the middle of the slider control to add a new
snapshot, then drag the snapshot’s blue tag to approximately 50.
Drag the blue dot
to adjust the value
of the snapshot.
3 Click the first snapshot (the tag furthest to the left), 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 simulates the viewfinder of an SLR camera focused at one extreme.
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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.
When the completed SLR effect is added to the Final Cut Pro X Timeline, this slider will
appear in the Effect Inspector.
In the next task, the rig slider will be published as “Focus.” In Final Cut Pro X, moving the
Focus slider back and forth will simulate focusing in an SLR camera viewfinder.
To publish the slider widget and the SLR effect template
1 In the Layers list, name the slider widget “Focus.”
2 Select the Rig or the Focus widget, then do one of the following in the Rig Inspector:
• Click the Focus slider’s Animation menu (the downward triangle that appears when
you place the pointer over the right side of the parameter row), then choose Publish
from the pop-up menu.
• Control-click the Focus slider’s parameter name, then choose Publish from the shortcut
menu.
3 In the Layers list, select the Project object, then open the Publishing pane of the Project
Inspector.
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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. 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 X 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 If you don’t want a preview movie to appear in the Motion Project Browser, deselect
Save Preview Movie.
The template appears in the Final Cut Pro Effects Browser, ready for use. For information
on keyframing parameters in Final Cut Pro, see Final Cut Pro X Help.
e Click Publish.
Creating a Title for Final Cut Pro X
Use the Final Cut Title template to create a custom title for use in Final Cut Pro X.
For detailed information on the Project Browser, see The Project Browser. For information
on working with titles in Final Cut Pro, see Final Cut Pro Help.
To create a title template
1 In Motion, choose File > New From Project Browser (or press Command-Option-N).
The Project Browser appears.
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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).
4 To add a reference image to the Title Background 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 a arrow, release the mouse button.
• From the File Browser or Library, drag an image to the Title Background layer in the
Layers list. When the pointer becomes a curved arrow, release the mouse button.
Be sure to drag the image from the File Browser or Library to the placeholder. If you
accidentally place the image into a new layer, you can’t to move it to the placeholder
layer.
The image is added to the Title Background layer, replacing the arrow graphic in the
Canvas, and is resized if it is not the same size as the project. The image is temporary
media used to preview the result of the effect you are building. It is not used in the
Final Cut Pro X title.
5 Modify the text as needed and add animation, filters, text behaviors, and other effects to
create custom titles.
Because users can change the text in Final Cut Pro, it’s not necessary to modify the default
text (“Type Text Here”) in Motion. You can adjust and animate parameters in the Text
Inspector, Filters Inspector, Behaviors Inspector, and Properties Inspector to create a
memorable title sequence. For more information about using text, see Creating and
Editing Text and Animating Text.
6 To allow Final Cut Pro users to modify specific parameters, choose Publish from the
Animation pop-up menu of each parameter you want to make accessible.
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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.
7 Optional: When you're satisfied with the custom title you’ve built, you can remove the
preview image from the template by selecting the Effect Source layer, then clicking the
Clear button in the Image Inspector.
The temporary image is removed and not saved to the template’s Media folder. For more
information, see Template Files and Media Save Location.
8 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 Titles Browser as
“New Template.”
b Choose a category from the Category pop-up menu.
You can also create a custom category. Categories appear in the Motion Project Browser
and the Final Cut Pro Titles Browser.
c If needed, choose a theme from the Theme pop-up menu.
You can also create n 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.
9 Click Publish.
The template and remaining media are saved and exported to the Final Cut Pro Titles
Browser.
Creating a Title Background
When a title template that contains a Title Background placeholder is added to the main
Timeline in Final Cut Pro, the placeholder is ignored. To specify a background source clip
in the Final Cut Pro project, you can add a drop zone to the title template and then assign
media to the drop zone in Final Cut Pro.
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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.
When the title 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
beneath the titles. Using the drop zone’s onscreen controls, an editor can pan or scale
the source clip within the drop zone. For more information, refer to Final Cut Pro Help.
Modifying a Final Cut Pro X Title in Motion
The presets in the Final Cut Pro X Titles Browser were created in Motion. You can modify
these presets in Motion, then save them as new title effects in Final Cut Pro.
To modify a Final Cut Pro X title in Motion
1 In Final Cut Pro, click the Titles Browser button in the toolbar.
The Titles Browser appears.
2 Locate the title effect to edit.
To preview the title effect, move the pointer over title effect’s thumbnail.
3 Control-click the title and do one of the following:
• If the title is a Final Cut Pro X 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 Titles Browser.
• If the title is a template created in Motion, choose “Open in Motion” from the shortcut
menu.
The original project opens in Motion.
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.
• To save the updated Motion-created template and overwrite the original version, choose
File > Save.
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• 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.
Creating a Transition for Final Cut Pro X
Use the Final Cut Transition template to create a custom transition for use in Final Cut Pro X.
For detailed information on the Project Browser, see The Project Browser. For information
on applying and editing transitions in Final Cut Pro, see Final Cut Pro Help.
To create a transition template
1 In Motion, choose File > New From Project Browser (or press Command-Option-N).
The Project Browser appears.
2 In the Project Browser, click Final Cut Transition, 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 Transition in the
Project Browser.
A new, untitled Motion project opens containing two placeholder layers: Transition A
and Transition B.
4 To add a reference image to the placeholders to preview your work, do the following:
a From the File Browser or Library, drag an image onto the Transition A layer in the Layers
list (or onto the Transition A arrow in the Canvas). When the pointer becomes a curved
arrow, release the mouse button.
b From the File Browser or Library, drag a second image onto the Transition B layer in
the Layers list. When the pointer becomes a curved arrow, release the mouse button.
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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.
5 Modify Transition A and Transition B so they flow into each other midway through the
transition, using filters, behaviors, or other combinations of effects. For example, animate
a lens flare that moves across the screen as Transition A fades into Transition B.
When designing the template, think about how to best get the end of incoming clip A
to line up with the beginning of the transition, and the end of the transition to line up
with the incoming clip B. For example, a transition that begins on a full-screen Placeholder
A and ends on a full-screen Placeholder B avoids jarring jumps. Because the default
behavior between the transition placeholders is a cut, you will often need to adjust the
placeholder timebars so they overlap in the Timeline to smooth out your transition, and
then animate their opacity using keyframes or a behavior.
Note: To override the default transition length set in Final Cut Pro Preferences and use
the duration of the transition template, select the Project object in the Layers list, then
select the Override FCP Duration checkbox in the Properties Inspector.
For more information on working with filters, see Using Filters. For more information on
behaviors, see Using Behaviors.
6 To allow Final Cut Pro users to modify parameters, choose Publish from the Animation
pop-up menu of each parameter you want to make accessible.
Publishing a parameter makes its user interface control (the slider, checkbox, or dial)
available in the Final Cut Pro Inspector when the custom effect is applied to a clip.
Published parameters can be adjusted and keyframed in Final Cut Pro. For more
information, see Publishing Parameters in Templates.
7 Optional: When you're satisfied with the transition you’ve built, you can remove the
preview images from the template by selecting each Transition layer, then clicking the
Clear button in the Image Inspector.
The temporary image is removed.
8 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 Transitions Browser
as “New Template.”
b Choose a category from the Category pop-up menu.
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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.
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.
9 Click Publish.
The template and remaining media are saved and exported to the Final Cut Pro Transitions
Browser.
Creating a Transition Background
You might want a custom transition to include a background image or clip. For example,
if your Transition A and Transition B clips are animated to scale down and the Viewer
background becomes visible, you might want a background image to cover the screen.
A background can be created by adding a drop zone to the transition template. After the
template is applied to a Final Cut Pro project, you can assign source media to the drop
zone.
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 to affect clips later added in Final Cut Pro. For more information on drop
zones, see Drop Zones.
To create a background for a transition template
1 In the Final Cut Transition project, choose Object > New Drop Zone.
A drop zone layer (titled “Drop Zone”) appears in the layers list and Canvas.
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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.
• To use a still image as the drop zone’s media source in Final Cut Pro, choose Timeline
Pin from the Type pop-up menu.
When the transition is added to a Final Cut Pro project, you can select a single frame
of a clip as the source frame in the drop zone by dragging a numbered handle along
the Timeline. For more information, see Final Cut Pro X Help.
Note: You can set a drop zone background color that is apparent when the drop zone’s
source media is panned or scaled. For more information, see Drop Zones.
Modifying a Final Cut Pro X Transition in Motion
Many presets in the Final Cut Pro X Transitions Browser were created in Motion. You can
modify these presets in Motion, then save them as transitions in Final Cut Pro.
To modify a transition in Motion from Final Cut Pro X
1 In Final Cut Pro X, click the Transitions Browser button in the toolbar.
The Transitions Browser appears.
2 Locate the transition to edit.
To preview of the effect, move the pointer over the transition’s thumbnail.
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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.
If the preview image used when creating the transition in Motion was saved with the
project, that media appears in the template.
4 Modify the project, 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.
• To save the updated Motion-created template and overwrite the original version, choose
File > Save.
• 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 template applied to the Final Cut Pro
Timeline.
The template is saved and appears in Transitions Browser in Final Cut Pro.
Example: Creating a Prism Blur Transition
This example demonstrates how to create an original, simple Final Cut Pro X transition
in Motion. Clip A dissolves into clip B with a prism blur effect.
To create a prism blur transition effect
1 Choose File > New (or press Command-N).
2 In the Project Browser, select Final Cut Transition, choose the project preset required for
your FCP X project, set the Duration to 200 frames, then click Open.
Note: This example uses the Broadcast HD 720 preset.
The project opens and contains a single group with two placeholder layers: Transition A
and Transition B.
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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.
4 In the Timeline, position the pointer over the end of the Transition A bar, and when the
arrow becomes a trim pointer, drag the bar to the end of the project.
5 Drag the beginning of the Transition B bar to frame 80.
6 Animate the opacity of Transition A by doing the following:
a Click the Record button (press A) and select Transition A.
b Drag the playhead to frame 1 and set Opacity to 100 in the Properties Inspector.
Because the default Opacity value is 100, move the Opacity value slider back and forth,
or enter 100 in the value field to be sure a keyframe is created.
Tip: To see keyframes in the Timeline, click the Show/Hide Keyframes button in the
upper-right corner of the Timeline track area.
c At frame 80, set Opacity to 100.
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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.
b At frame 105, set Amount to 50.
c At frame 200, set Amount to 0.
When you play the project, Transition A fades into Transition B with a prism blur that
moves right, then left.
10 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 Transitions Browser
as “New Template.”
b Choose a category from the Category pop-up menu.
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.
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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.
After the prism blur transition is applied to the Final Cut Pro X Timeline, its duration
can be easily modified. For more information transition duration, see Final Cut Transition.
Creating a Generator for Final Cut Pro X
Use the Final Cut Generator template to create a custom generator for use in
Final Cut Pro X. A generator template is similar to a standard Motion project. However,
when saved, it is exported to the Generators Browser in Final Cut Pro.
Like any content added to a Final Cut Pro project, a generator template can be composited
over a clip in the Final Cut Pro Timeline, or added to the main Timeline. The duration of
the generator in Final Cut Pro is determined by its duration when created and saved in
Motion.
For detailed information on the Project Browser, see The Project Browser. For information
on working with generators in Final Cut Pro X, see Final Cut Pro X Help.
To create a generator template
1 In Motion, choose File > New From Project Browser (or press Command-Option-N).
The Project Browser appears.
2 In the Project Browser, click Final Cut Generator, 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).
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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. For more information about adding drop zones to a Motion project,
see Drop Zones.
5 To allow Final Cut Pro users to modify specific parameters, choose Publish from the
Animation pop-up menu of each parameter you want to make accessible.
Publishing a parameter makes its user interface control (the slider, checkbox, or dial)
available in the Final Cut Pro Inspector when the custom effect is applied to a clip.
Published parameters can be adjusted and keyframed in Final Cut Pro. For more
information, see Publishing Parameters in Templates.
Note: If you have many parameters that you want to control with a single control, you
can rig the parameters to a slider, pop-up menu, or checkbox. When the rig controls are
published with a template, the slider, pop-up menu, or checkbox becomes available in
the Final Cut Pro X project. For more information, see Using Rigs.
6 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 Generators Browser
as “New Template.”
b Choose a category from the Category pop-up menu.
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.
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.
7 Click Publish.
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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.
To preview the generator, move the pointer over the generator’s thumbnail.
3 Control-click the generator and do one of the following:
• If the generator is a Final Cut Pro preset, choose “Open a copy in Motion” from the
shortcut menu.
A copy of the project opens in Motion.
• If the generator is a template created in Motion, choose “Open in Motion” from the
shortcut menu.
The original project opens in Motion.
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.
• To save the updated Motion-created template and overwrite the original version, choose
File > Save.
• 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 generator that is already applied to the
Final Cut Pro Timeline.
The template is saved and appears in Generators Browser in Final Cut Pro.
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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. There are two ways to do this:
• Publish the Motion project as a Final Cut Generator, which exports the template to the
Final Cut Pro Generators Browser, where it can be applied to the Timeline and edited
like any other generator.
• Save the Motion project as a QuickTime file, then import the QuickTime movie into the
Final Cut Pro project like any other footage.
Although you cannot add an Effect Source, Transition A, Transition B, or Title Background
placeholder to a Motion project, you can add standard drop zones, which let Final Cut Pro
users insert customized content into the generator.
Like template projects, standard Motion projects let you publish specific parameters to
the Final Cut Pro Inspector. For more information on publishing parameters, see Publishing
Parameters in Templates.
To publish a standard Motion project as a generator in Final Cut Pro X
1 When you save your project, choose File > Publish Template.
2 In the save dialog, enter a name for the template, complete the other options, then select
Publish as Final Cut Generator.
For more information about save dialog options for templates, see Creating a Generator
for Final Cut Pro X.
3 Click Publish.
The template is saved and appears in Generators Browser in Final Cut Pro.
Using Media in Template Placeholders
When creating a custom template for Final Cut Pro X, you can add an image to a
placeholder layer to preview the effect you are building.
Important: When adding preview media to a placeholder, use a still image rather than
a video clip, which can introduce timing conflicts in Final Cut Pro.
To add a placeholder image to a template
Do one of the following:
µ
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.
µ
From the File Browser or Library, drag an image to the Effect Source layer in the Layers
list. When the pointer becomes a curved arrow, release the mouse button.
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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.
• From the File Browser or Library, drag an image to the Effect Source layer in the Layers
list. When the pointer becomes a curved arrow, release the mouse button.
2 Choose File > Save (or press Command-S).
The “Media exists outside the document. Do you wish to copy it?” dialog appears.
3 Do one of the following:
• To save the new image with the template in the /Users/username/Movies/ folder, click
Copy.
• To save the template without the new image, click Don’t Copy.
When you save a template, media used in the project is stored on your computer in the
same folder as the template (/Users/username/Movies/Motion Templates/), potentially
creating multiple instances of media files and taking up valuable hard disk space. If the
“Include unused media” checkbox is selected in the template’s save dialog, media in the
Media pane (the storage area for media not used in the project) of the Motion project is
also saved to this location.
To prevent creating duplicates of images on your hard disk, you can clear placeholder
images from templates before saving. When you clear a placeholder image, its source
media is not loaded into Motion the next time you modify the template (by choosing the
“Open a copy in Motion” command in the Final Cut Pro media browsers).
To clear media from a template placeholder
1 In the template project, select an Effect Source, Title Background, Transition A, or Transition
B placeholder.
2 In the Image Inspector, click the Clear button in the Final Cut Placeholder controls.
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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.
Saving a template containing a source image in the placeholder saves the image to the
template’s Media folder (/Users/username/Movies/Motion Templates/). If you replace the
placeholder image and save the template again, a dialog may appear stating “Media
exists outside the document. Do you wish to copy it?” Click Copy to save the new image
with the template media.
Publishing Parameters in Templates
When you create a template (an effect, transition, title, or generator) for Final Cut Pro X,
you can publish nearly any parameter. Publishing a parameter places its user interface
control (a slider, dial, checkbox, and so on) in the Final Cut Pro Inspector, where it can be
adjusted to modify an applied effect, transition, title, or generator. Publishing parameters
also lets you to decide how much control (if any) a Final Cut Pro user has over modifying
an an effect.
The easiest way to publish a parameter from Motion to Final Cut Pro is to choose the
Publish command from the parameter’s animation pop-up menu (the downward arrow
on the right side of a parameter row in the Inspector). When you save the template, the
published parameter is exported with the effect to Final Cut Pro.
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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). When
you do so, onscreen controls for the published filter become available in the Final Cut Pro
Viewer.
Using Rigs in Templates
You can map multiple parameters to a single control in Final Cut Pro by adding rigs to
the template and publishing them. Rigs let you link parameters to a slider, pop-up menu,
or checkbox to simplify or limit the allowable adjustments in a Motion or Final Cut Pro
project. When you publish a rig control (known as a widget) in Motion, a master slider,
pop-up menu, or checkbox appears in the Final Cut Pro Inspector, enabling editors to
make complex effect adjustments with simplified controls. For more information about
rigs and widgets, see Using Rigs.
In addition to publishing parameter controls, you can publish a checkbox that lets
Final Cut Pro users toggle the effect of a filter or behavior used in the template. You do
this in Motion by publishing the header row (the row with the blue activation checkbox)
of a behavior or filter. When the template is saved in Motion and applied to a clip in
Final Cut Pro, a checkbox with the name of the published filter or behavior appears in
the Final Cut Pro inspector. Deselecting the checkbox disables the effect of that filter or
behavior (including its constituent parameters).
The following Motion items cannot be published in templates for Final Cut Pro:
• Image wells (except for drop zone Source Media wells).
• Mini-curve editors.
• Source Audio wells for the Audio Parameter behavior.
• Timing controls in the Image Inspector or Media Inspector.
• Retiming behaviors (such as Ping Pong, Loop, and Stutter).
• Some rig widget options (Slider: Range Minimum/Range Maximum).
• Project properties (such as Pixel Aspect Ratio, Frame Rate, and Background Color in the
Properties Inspector.)
• Graphs from the Keyer filter.
• Non-compound groups of controls, such as the Lighting parameter in the Properties
Inspector.
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• 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. The following items have
components that are not accessible after a template is added to a Final Cut Pro project:
• Parameters related to text path onscreen controls
• Mask or shape control points
• Parameters with deselected activation checkboxes
• The Histogram in the Levels color correction filter
To publish a parameter in a template
1 In the effect, transition, title, or generator template, select the image layer, filter, or
behavior containing the parameter to publish.
2 In the selected item’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 Publish.
• Control-click the parameter’s name, then choose Publish from the shortcut menu.
To publish a compound parameter (a parameter with nested subparameters)
1 In the template project, select the image layer or effects object containing the compound
parameter to publish.
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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.
3 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 Publish.
• Control-click the parameter’s name, then choose Publish from the shortcut menu.
The parameter and its subparameter controls are published. When the template is
applied to a clip in Final Cut Pro, the compound parameter retains its state (collapsed
or expanded) at the time of publishing. If the result is not what you expected, click the
disclosure triangle in the Final Cut Pro Inspector to expand or collapse the subparameters
manually.
Published Rotation
parameter in the
Publishing pane of
the Motion Project
Inspector
Note: Examples of parameters with subparameters include Scale (with X, Y, and Z values)
and Shear (with X and Y values).
You can also publish specific subparameters of a compound parameter. This is a good
way to limit an editor’s control over effects parameters in Final Cut Pro project.
To publish subparameters of a compound parameter
1 In the template project, select the image layer or effect object containing the subparameter
to publish.
2 In the item’s Inspector, click the compound parameter’s disclosure triangle to show its
subparameters.
3 For each parameter to publish, 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 Publish.
• Control-click the parameter’s name, then choose Publish from the shortcut menu.
The subparameter is listed in the Published Parameters list.
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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.
Note: If you publish only the blue activation checkbox and no other parameters in the
behavior or filter’s group of controls, only the checkbox is published.
To publish a rig control (widget)
1 Add a rig to the template, assigning specific parameters to the rig’s widget controls.
For more information about building rigs, creating widgets, and assigning parameters,
see Using Rigs.
2 Select the rig, then do one of the following in the Rig Inspector:
• In the Checkbox, Pop-up, or Slider widgets, click the Animation menu (the downward
triangle that appears when you place the pointer over the right side of the widget’s
parameter row), then choose Publish from the shortcut menu.
• Control-click the Checkbox, Pop-up, or Slider parameter name, then choose Publish
from the shortcut menu.
To publish a gradient editor
1 In the template project, select the image layer or effect object that contains the gradient
editor to publish.
2 In the item’s Inspector, Control-click the Gradient parameter, then choose Publish from
the shortcut menu.
Gradient editor controls are published when the template is saved.
To publish a filter’s onscreen controls
1 In the template project, select the filter object.
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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.
For more information about filter onscreen controls, see Adjusting Filter Onscreen Controls
and Publishing Filter Parameters and Onscreen Controls.
Note: To animate onscreen control values in the Final Cut Pro X curve editor, the onscreen
controls must be published.
To review parameters set to be published in a template
1 In the Layers list, click Project.
2 In the Project Inspector, click Publishing.
Parameters (for all object types) set to be published appear in the list.
To reorder parameters in the Publishing pane
1 In the Layers list, click Project.
2 In the Project Inspector, click Publishing.
3 Drag a parameter up or down in the Published Parameters list.
To customize a published parameter name in a template
1 In the Layers list, click Project.
2 In the Project Inspector, click Publishing.
3 In the Published Parameters list, double-click the name of a parameter, enter a name,
then press Return.
Note: To navigate to the originally published parameter (before the name change),
Control-click the parameter and choose Reveal Original Parameter.
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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.
2 In the Project Inspector, click Publishing, then do one of the following:
• Click the Animation menu (the downward triangle that appears when you place the
pointer over the right side of the parameter row), then choose Unpublish from the
shortcut menu.
• Control-click the parameter name, then choose Unpublish from the shortcut menu.
Publishing Text Parameters
When you apply a Final Cut Title template or Final Cut Generator template containing
text to a clip in Final Cut Pro X, a default Text pane appears in the Final Cut Pro X Inspector.
The Final Cut Pro Text pane contains many of the same parameter controls as the Motion
Text Inspector (Font, Size, Alignment, and so on).
When a Final Cut Title or Final Cut Generator template contains published text parameters,
those parameters appear in a separate pane in the Final Cut Pro Inspector: the Title pane.
To modify advanced text parameters in Final Cut Pro, publish them before saving the
template in Motion.
For information on text parameters in the Format, Style, and Layout panes in the Motion
Inspector, see Creating and Editing Text.
You can also edit text in an applied Final Cut Pro template using onscreen controls in the
Final Cut Pro Viewer. Text in a generator, title, or effects template can be edited using
these onscreen text controls. If the text was saved in Motion in Paragraph layout (in the
Layout pane of the Text Inspector), the text appears with the rulers in the Final Cut Pro
Viewer when you double-click the text in the Viewer. If the text was saved in Motion with
Type selected from the Layout Method pop-up menu, the text appears on a single line
in the Final Cut Pro Viewer, with an onscreen transform tool.
For more information on working with text in Final Cut Pro X, see Final Cut Pro X Help.
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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.
• The Text pane in the Final Cut Pro Inspector contains the same basic formatting
parameters as the Format pane of the Motion Text Inspector (except for the Collection
pop-up menu):
• Text Style preset pop-up menu (unlabeled)
• Font pop-up menu
• Typeface pop-up menu
• Size slider
• Alignment buttons
• Vertical Alignment buttons
• Line Spacing slider
• Tracking slider
• Kerning slider
• Baseline slider
• The Text pane in the Final Cut Pro Inspector contains the following Face parameters
that appear in the Style pane of the Motion Text Inspector:
• Color/Gradient/Texture controls: A group of controls used to set text fill color, gradient,
or texture, depending on which item is selected in the Face pop-up menu. Click the
disclosure triangle to adjust additional parameters.
• Opacity slider.
• Blur slider.
• The Text pane in the Final Cut Pro Inspector contains the following Outline parameters
that appear in the Style pane of the Motion Text Inspector:
• Color/Gradient/Texture controls: A group of controls used to set text outline color,
gradient, or texture, depending on which item is selected in the Outline pop-up
menu. Click the disclosure triangle to adjust additional parameters.
• Opacity slider.
• Blur slider.
• Width slider.
• The Text pane in the Final Cut Pro Inspector contains some of the Glow parameters
that appear in the Style pane of the Motion Text Inspector:
• Color/Gradient/Texture controls: A group of controls used to set text glow color,
gradient, or texture, depending on which item is selected in the Glow pop-up menu.
Click the disclosure triangle to adjust additional parameters.
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• 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.
The Text editor available in the Motion Text Inspector is also available in the Text pane
in the Final Cut Pro Inspector. This text field allows you to enter and edit text in the
Inspector rather than in the Viewer in Final Cut Pro. The Text editor is useful when working
with large amounts of text.
Note: When you publish a text parameter already in the Text pane of the Final Cut Pro X
Inspector, the parameter appears in the Title pane and the Text pane of the Final Cut Pro
Inspector. Changes made to the parameters in the Title pane affect the same parameters
in the Text pane, and vice versa.
Although you can publish nearly any Motion text parameter, not all associated controls
are available after the template is applied to a clip in Final Cut Pro. For example, if the
Layout Method parameter is set to Path, you can edit the text path in Motion’s Canvas
using the path onscreen controls. In Final Cut Pro, the text appears along the shape of
its path, but no onscreen controls are available to change the shape of the path in the
Final Cut Pro Viewer. If the Layout Method parameter is published, you can change the
Layout Method in Final Cut Pro from Path to Paragraph or Line, for example.
Animation and Timing in Templates
Effect, title, transition, and generator templates can include animation like a standard
Motion project. When the template is added to a clip in Final Cut Pro X, animation in the
placeholder is applied to the clip, whether created by behaviors or keyframes.
Animation in the template that is longer than the duration of the clip to which it’s applied
in Final Cut Pro is scaled to fit.
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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.
Animation Guidelines
When publishing parameters in your templates, consider the following guidelines:
• When possible, avoid publishing keyframed parameters. Published keyframes can cause
unexpected results when you edit or further animate the parameters in the Final Cut Pro
Inspector.
• Do not publish a parameter that is controlled by a behavior. For example, if you publish
an Opacity parameter that is controlled by an applied Fade In/Fade Out behavior, you
cannot adjust the opacity parameter after the template is added to the Final Cut Pro X
project.
• Because the duration of templates often conflicts with the duration of the Final Cut Pro
clips they are applied to, try to publish nonanimated parameters in the template, then
keyframe those parameters in Final Cut Pro.
• Use behaviors instead of keyframes in templates when possible. Behaviors can be a
more flexible animation tool for templates. Behaviors don’t rely on specific timing or
use keyframes to create an animation. Publish behavior parameters that you want to
control in Final Cut Pro.
For more information on working with keyframes, see Keyframes and Curves. For more
information on using behaviors, see Using Behaviors.
Depending on the template type, different timing rules apply when the template is added
to the Final Cut Timeline.
Timing Guidelines
Depending on the template type, different timing rules apply when the template is added
to the Final Cut Pro X Timeline:
Final Cut Effect
When you apply an effect template in Final Cut Pro X, the effect is integrated into the
clip. For example, when a color-correction effect template that is 300 frames in Motion
is saved and applied to a 2,300-frame clip in Final Cut Pro, the resulting effect is
2,300 frames.
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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. For example, to control frame-counting effects, such as Timecode
generators or grain effects, apply special markers to instruct Final Cut Pro when to play
specific ranges of the template. For more information, see Adding Template Markers.
Final Cut Transition
In Final Cut Pro X, the default transition duration is set in the Editing pane of Final Cut Pro
Preferences. When you apply a transition template to an edit point in the Final Cut Pro
timeline, the duration of the transition effect is modified to the default transition duration.
For example, in a Final Cut Pro Broadcast HD 1080 project (29.97 fps) with a default
transition duration of two seconds, an applied 300-frame transition template is compressed
to 60 frames (2 seconds at 29.97 fps).
To override the transition duration setting in Final Cut Pro Preferences, select the Override
FCP Duration checkbox in the Properties Inspector in Motion. If this checkbox is selected
when the transition is saved, the transition retains its original duration when added to
the Final Cut Pro project.
Whether the transition duration uses the Final Cut Pro default or is overridden, you can
adjust the in and out points of the transition in the Final Cut Pro Timeline.
Final Cut Title
When added to a Final Cut Pro project, a title template is anchored to the clip to which
it is applied. Its duration is based on the duration of the template in Motion. After the
title is applied, you can adjust its duration in the Final Cut Pro Timeline.
Final Cut Generator
When added to a Final Cut Pro project, a generator template uses its default duration (its
duration when the template was created and saved in Motion). After the generator is
applied, you can adjust its duration in the Final Cut Pro Timeline.
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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. To apply a template marker, you must first apply
a standard project marker, then change the marker type in the Edit Marker dialog.
For more information on using working with markers in the Timeline, see Adding Markers.
When building a template, you typically don’t know the duration of the clips it will be
applied to in Final Cut Pro. Template markers let you control the timing of a template
after it is applied in Final Cut Pro by designating regions in the Timeline to be played,
ignored, or looped to match the duration of the target clip. You can also designate a
specific frame to be used as the template’s thumbnail in the Final Cut Pro Effects,
Transitions, or Titles Browser.
Template markers fall into four categories: Build In, Build Out, Loop, and Poster Frame. Build
In markers instruct Final Cut Pro to play an intro animation in specific instances. Build Out
markers instruct Final Cut Pro to play an outro animation in specific instances. Loop
markers indicate where the template should begin looping playback. Poster Frame markers
determine the frame of a template to be used as the thumbnail for the template in the
Final Cut Pro Effects, Transitions, or Titles Browser.
Build In markers designate the end point of an intro section of a template, and instruct
Final Cut Pro to play that section at the same speed as the original template (as created
in Motion), regardless of the duration of the clip in the Final Cut Pro Timeline. Build Out
markers designate the start of an outro section of a template, and instruct Final Cut Pro
to play that section at the same speed as the original template (as created in Motion),
regardless of the duration of the clip in the Final Cut Pro Timeline.
You can also specify a build-in or build-out section as optional. When you add the optional
Build In or Build Out marker, a corresponding checkbox is added to the Publishing pane
of the Project Inspector in Motion. When you apply a template to a project, the checkbox
also appears in the Final Cut Pro Inspector. Deselect the checkbox to disable the build-in
or build-out portion of the effect.
When you add Build In, Build Out, or Loop template markers to a Motion project, the
Timeline ruler displays a gold glow over the affected region.
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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 creating templates, use template markers to control which
portions of the effect, title, transition, or generator are time-stretched and which portion
are left alone.
Note: Transition templates assume a default duration in Final Cut Pro (determined in
Final Cut Pro Preferences). This duration can conflict with the effects of these marker
types. For example, you might specify that the intro animation of a transition lasts for
45 frames, while the default duration in Final Cut Pro is set to 30 frames for the entire
transition. To override the Final Cut Pro default duration, select the Override FCP Duration
checkbox in the Project Properties Inspector of Motion. For more information, see Creating
a Transition for Final Cut Pro X.
The marker types include:
• Standard: The default marker for use in Motion. This marker has no effect on templates
in Final Cut Pro.
• Build In – Mandatory: Indicates the last frame of an intro section. Frames between the
beginning of the project and the Build In – Mandatory marker play for the duration
specified in the Motion project.
This intro is always played, regardless of where the template is placed in the Final Cut Pro
Timeline.
• Build In – Optional: Sets the last frame of an intro section. When a Build-In Optional
marker is added to a template, a Build In checkbox is published (added to the Published
Parameters list in the Publishing pane of the Project Inspector). After the template is
added to a Final Cut Project, the Build In checkbox appears in the Inspector.
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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.
• Build Out – Mandatory: Sets the first frame of an outro section. Frames between the
Build Out – Mandatory marker and the end of the project play for the duration specified
in the Motion project.
This outro is always played, regardless of where the template is placed in the
Final Cut Pro Timeline.
• Build Out – Optional: Sets the first frame of an outro section. When a Build Out – Optional
marker is added to a template, a Build Out checkbox is published (added to the
Published Parameters list in the Publishing pane of the Project Inspector). After the
template is added to a Final Cut Project, the Build In checkbox appears in the Inspector.
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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.
Build Out – Optional
marker
The outro section is played only when
the Build Out checkbox is selected in
the Final Cut Pro Inspector.
• Project Loop End: Sets the last frame of the section to be included when the template
is used in Final Cut Pro. When playback reaches this frame, the project plays from the
beginning of the project or from the Build In marker, if present. Frames beyond the
Project Loop End marker are never played.
Project Loop End marker
Frames in this section
are looped.
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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. This can be useful for
generators that do not contain animation, such as a solid color generator, or for filters
that are not animated by default, such as a color correction filter.
Note: Templates with applied Time filters (Echo, Scrub, Strobe, Trails, or WideTime)
should not use Loop markers, because unexpected timing results can occur.
• Poster Frame: Sets the frame to be used as the template’s thumbnail in the Final Cut Pro
Effects, Transitions, or Titles Browser.
Adding Template Markers
To create a template-specific marker (Build In, Build Out, Project Loop End, or Poster
Frame), you must first add a project marker to a Motion project, then change its type in
the Edit Marker dialog.
To add a project marker
1 Position the playhead on the frame where you want the marker to appear.
2 Do one of the following:
• Press Shift-M.
• Ensure that no objects in the project are selected, then choose Mark > Markers > Add
Marker.
• Ensure that no objects in the project are selected, then press M or the Tilde key (`).
• Ensure that no objects in the project are selected, Control-click the Timeline ruler, then
choose Add Marker from the shortcut menu.
A green marker appears in the Timeline ruler, and a green vertical line appears in the
mini-Timeline.
µ
To move a marker
Drag the marker to a position in the Timeline ruler.
When you drag the marker, the current frame is displayed above the pointer.
To change the marker type
1 Do one of the following:
• Position the playhead over the marker, then choose Mark > Markers > Edit Marker.
• Double-click the marker.
• Control-click the marker, then choose Edit Marker from the shortcut menu.
2 In the Edit Marker dialog, choose a marker type from the Type pop-up menu.
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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. Although the
template scales to fit the resolution of the Final Cut Pro X project it is applied to, you
should create the template at the highest resolution you will use.
Note: If you plan to loop template animation, or you need to match the template and a
Final Cut Pro project frame for frame, create the template with the same frame rate as
the Final Cut Pro project. For more information on looping template animation, see Adding
Template Markers.
Additionally, several display aspect ratio settings for the template can be saved in a single
template project. For example, if your template was created at a 16:9 aspect ratio, you
can easily create a 4:3 version of it in the same project. When the template is applied to
a Final Cut Pro project, Final Cut Pro applies the aspect ratio that matches the project.
For more information, see Adding Multiple Display Aspect Ratios to a Template .
Note: An image added to a placeholder is fit based on the template project settings.
Because the image in the placeholder is not used when the template is applied to a
Final Cut Pro project, stretching or scaling of the media does not affect the Final Cut Pro
clip the template is applied to.
Using Masks in Templates
You can use shapes and masks in any Final Cut template type.
In general, use of shapes should be limited to generator templates. Shapes are ideal
generator template elements because they can be scaled in Final Cut Pro X without
degradation. (However, too many shapes in a template can adversely impact performance
in Final Cut Pro.)
When you add a shape to a placeholder layer, the shape is converted to a mask. When a
template with a masked placeholder is applied to a clip in Final Cut Pro, the mask is
applied to the clip. Objects in the template outside the placeholder are not affected.
You can publish mask parameters (Roundness, Feather, and Mask Blend Mode, and so
on) so they are editable in Final Cut Pro. However, the onscreen mask controls in Motion
are not available in Final Cut Pro. To reposition a template mask in Final Cut Pro, publish
the mask’s transform parameters (located in the mask’s Properties Inspector). For more
information on publishing, see Publishing Parameters in Templates.
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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.
When a Final Cut Effect template is saved, it is saved to /Users/username/Movies/Motion
Templates/Effects; a Final Cut Transition is saved to /Users/username/Movies/Motion
Templates/Transitions, and so on.
When you save a template in Motion, you assign a category. For example, when you save
a Final Cut Effect, choose an option from the Category pop-up menu in the save dialog,
such as Blur, Distortion, or Stylize. After you save a template into a category, that category’s
folder appears in the corresponding folder on your computer (Effects, Titles, Generators,
and so on).
Categories represent the how the effects are organized in the Final Cut Pro X media
browsers. For example, in the Final Cut Pro Effects Browser, video effect categories include
Basics, Blur, Distortion, Keying, Light, Looks, Stylize, and Tiling. In Motion, a Final Cut Effect
template saved to the Blur category is placed in the Finder in the
/Users/username/Movies/Motion Templates/Effects/Blur/your template name folder.
You are not limited to the preset Final Cut Pro browser categories. You can create a
template category by choosing New Category from the Category pop-up menu in the
template save dialog. Custom categories also appear in Final Cut Pro browsers.
You can further organize templates using Themes. A theme is a metadata tag attached
to a template that assists in categorizing different templates as being part of a single
family. For example, you may have different template types that are related to the same
project, such as a transition, an effect, and a group of titles. By tagging the templates
with the same theme, all templates, regardless of their template type, appear in the
Final Cut Pro Themes Browser.
Themed templates also appear in other effects browsers. For example, a themed Final
Cut Title template appears in the Final Cut Pro Themes Browser as well as in the Titles
Browser (underneath the nonthemed templates).
Assigning a theme to templates is optional.
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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.png: This file is used for the preview in the Motion Project Browser and as a
preview in the Final Cut Pro browser when the project loads in the background.
• small.png: This file is used for the thumbnail preview of the template in the Final Cut Pro
browser. The current frame when the template is saved in Motion is used for the preview
frame.
• yourtemplatename.mov: This file is used for the movie preview of the template that
plays when the template is selected in the Motion Project Browser. This file is created
when you select the “Save Preview Movie” checkbox before saving.
• yourtemplatename.moef, -.motn, -.moti, or -.motr: This is the Motion template’s project
document.
• .moef is the Final Cut Effect template extension.
• .motn is the Final Cut Generator template extension.
• .moti is the Final Cut Title template extension.
• .motr is the Final Cut Transition template extension.
• Media folder: This folder contains all media in the project—media used in the
placeholder and other clips and images used in the project, including content such as
particle cell sources. If you clear the media in the template placeholder before saving
the template, that media is not saved in the Media folder.
Note: If you select “Include unused media” in the save dialog, media in the Media pane
(the storage area for media not used in the project), is included in the Media folder.
Sharing Templates with Other Users
To share templates and associated media files between users and computers, place the
associated template files in the same folder structure on another user’s computer in the
/Users/username/Movies/Motion Templates/ folder.
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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. These alternate display versions
of a single template are called snapshots. Snapshots eliminate the need to create multiple
versions of the same template for multiple display ratios.
You should add display aspect ratio snapshots if you expect to apply templates to clips
of varying resolutions in Final Cut Pro, or to apply the same title or generator template
in multiple Final Cut Pro projects with different resolutions.
Note: If you expect a template to be applied to differently sized clips in Final Cut Pro,
perform the workflow described in this section before saving the template.
Sidebar
Pixel Aspect Ratio (PAR) is the ratio of the width of a pixel to its height. For example,
NTSC pixels are slightly taller than they are wide. They have a pixel aspect ratio of 10/11
(approximately 0.9091). Display Aspect Ratio (DAR) is a ratio of the final displayed image’s
width to its height.
For example, an iPad’s display aspect ratio is 1.3333 (also written as 4:3), but broadcast
NTSC has a display ratio of 1.3636. To calculate the display aspect ratio of an image from
its dimensions and pixel aspect ratio, multiply the pixel aspect ratio by the width and
divide by the height.
The most common aspect ratios are 4:3 (also referred to as standard, 4x3, or 1.33:1) and
16:9 (widescreen, 16x9, or 1.78:1). Older monitors and televisions are generally 4:3, so
the screen is 33 percent wider than it is high. Newer HD monitors and televisions are
78 percent wider than they are high.
To reconfigure a project for a different display aspect ratio
1 In the Layers list, select the Project object.
2 In the Project Inspector, click Snapshots.
The Display Aspect Ratio Snapshots list appears, showing the project’s current default
aspect ratio.
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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.
A small floating window appears, indicating that you are in aspect ratio-edit mode.
5 Position and scale the layers in your project to fit the new display aspect ratio, then click
the Stop Rig Edit Mode button in the floating window.
Click the items in the Display Aspect Ratio Snapshots list to view the results in the Canvas.
Note: When working with an alternate snapshot, the resolution listed in the Properties
pane of the Inspector (when Project is selected in the Layers list) may seem strange. This
is because the Display Aspect Ratio is shown, rather than the Pixel Aspect Ratio.
6 Choose File > Save or File > Save As.
a In the save dialog, enter a name for your template.
b Choose a category from the Category pop-up menu.
c If needed, choose a theme from the Theme pop-up menu.
d To retain unused media in the project (media or audio in the Media list not used in the
project), select “Include unused media.”
When the template is applied to the Final Cut Pro Timeline, the template aspect ratio
that matches the Final Cut Pro project is used.
To create a custom display aspect ratio (DAR) snapshot
1 In the Layers list, select the Project object.
2 In the Project Inspector, click Snapshots.
3 Click the Add button (+) and choose Custom from the shortcut menu.
4 Choose an option from the Pixel Aspect Ratio pop-up menu, such as NTSC D1/DV.
The pixel aspect ratio (PAR) appears in the field to the right of the pop-up menu.
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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. (The preview movie appears in the
Motion Project Browser.) When you're ready to save the final version of the template,
select the Save Preview Movie checkbox to create the preview movie.
• When creating complex templates that involve multiple drop zones, use a Final Cut
Generator or Final Cut Title template.
• As with any project in Motion, too many effects (such as filters, text objects, and so on)
adversely impact performance in Final Cut Pro X.
• Create animation using behaviors rather than keyframes. Behaviors are easier to modify
when the template is applied in Final Cut Pro.
• Avoid publishing parameters animated with behaviors or keyframes. Published
parameters allow template customization in Final Cut Pro.
• Shapes are nice graphic elements to add to a template project (outside of the
placeholder), as they can be scaled without degradation. (Shapes added to a placeholder
become masks). However, too many shapes in a template will adversely impact
performance in Final Cut Pro.
• Ensure that “Create Layers At” in the Project pane of Motion Preferences (click
Command-Comma to open Preferences) is set to “Start of project.”
• In the Motion Timeline, ensure that all filter and behavior bars extend to the end of the
project.
• To avoid placeholder duration conflicts, use still images when building templates. Using
still images also prevents lengthy render times and preserves hard disk space.
• Before saving a template, decide whether you want to save or clear preview media,
based on the following considerations:
• Media not cleared is saved with the template, creating longer render times and
consuming hard disk space.
• Media saved with the template is available when the template is reopened in Motion
(via the “Open in Motion” command in the Final Cut Pro media browsers), allowing
you to pick up where you left off in the previous template-building session.
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• 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. For more information,
see Keying.
• Do not use image sequences when creating templates.
• If an object in a template has an applied Link Parameter behavior, do not move the
object to another group. Doing so breaks the links.
• If you publish parameters for an object and then delete that object, all parameters set
to be published are also deleted.
• Do not use deprecated filters (older filters that are no longer supported in Motion 5)
in a template. Although the filter may render correctly in Motion, it may not render
correctly after the template is applied to a Final Cut Pro clip.
• Template placeholder layers cannot be duplicated. If a group that contains a placeholder
is duplicated, other objects in the group are duplicated, but not the placeholder.
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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.
Motion provides two different keyframing methods that allow you to animate using the
workflow you are most comfortable with. The first option is to turn on the Record button,
which creates a new keyframe whenever you adjust any parameter. The second option
is to manually add a keyframe to a parameter. After a parameter contains a keyframe,
any further adjustment to that parameter adds a keyframe at the current playhead position,
regardless of the Record button state. For more information on keyframing methods, see
Keyframing Methods.
This chapter covers the following:
• Keyframing in Motion (p. 568)
• Keyframing Methods (p. 572)
• Applying Movement to an Object in the Canvas (p. 575)
• Animating Using the Inspector (p. 582)
• Animating Filters (p. 588)
• Animating Behaviors (p. 590)
• Combining Behaviors and Keyframes (p. 591)
• Working with Keyframes in the Timeline (p. 592)
• Animating in the Keyframe Editor (p. 595)
• Filtering the Parameter List (p. 603)
• Modifying Keyframes (p. 608)
• Modifying Curves (p. 619)
• Mini-Curve Editor (p. 629)
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• 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. The first keyframe defines the text’s color as green, and
the second keyframe sets the color to blue. Motion makes the frames between those
points change smoothly from green to blue.
Motion lets you keyframe color values, position, rotation, opacity, and almost every other
parameter in the application.
There are several places in Motion to create and edit keyframes and the values between
them, represented by animation curves. For example, you can animate basic properties
such as scale, rotation, and screen position by manipulating the object in the Canvas.
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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.
Keyframed Opacity
parameter
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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.
Show/Hide Keyframes button
Selected keyframe
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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.
Selected keyframe
For information on filtering the parameter list in the Keyframe Editor to show only the
parameters and keyframes you are interested in, see Filtering the Parameter List.
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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.
Using the Record Button
One of the simplest ways to create keyframes is to use the Record button. When Record
is enabled, a keyframe is created when a parameter is adjusted or when an object in the
Canvas is moved or transformed. Animateable parameters in the Inspector appear red
when Record is enabled.
Note: When Record is enabled, keyframes are created whether you adjust the object
onscreen, in the HUD, or in the Inspector.
When Record is enabled, the changes you make to the object are applied as keyframes
at the current playhead position. If you move the playhead to a new position and change
the shape or position of the object, you create a keyframe. If you are working in the Canvas
and don’t show keyframes in the Timeline or open the Keyframe Editor, you won’t see
these keyframes at first. In the Inspector, a keyframed parameter appears red, and the
Add/Delete Keyframe button is visible.
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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.
The object is scaled over the interval you set. In this same way, you can keyframe any
transformation parameter for your object.
You can also Control-click the object to display a shortcut menu with options for modifying
the Anchor Point, Distort, Drop Shadow, and Crop parameters. For example, choose
Transform from the shortcut menu to activate scale and rotation handles in the Canvas.
For more information on object transformations in the Canvas, see Transforming Layers.
Using the Initial Keyframe Method
After an initial keyframe is added to a parameter, a new keyframe is created at the current
playhead position whenever that parameter is adjusted, regardless of the state of the
Record button. Keyframed parameters appear red in the Inspector.
To scale an object over time in the Canvas using the initial keyframe method
1 In the Canvas, resize the object by dragging a scale handle.
2 To create an initial Scale keyframe, do one of the following:
• Press Control-K.
Note: Pressing Control-K adds a keyframe to the last modified parameter of the object.
For example, if you rotate an object using the rotation handle and then press Control-K,
a keyframe is added to the Rotation parameter. This also applies to the other tools in
the 2D transform tools pop-up menu. For example, if you adjust a drop shadow in the
Canvas using the onscreen controls and then press Control-K, a keyframe is added to
the Blur, Distance, and Angle Drop Shadow parameters in the Properties Inspector.
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• 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.
You can also Control-click a parameter’s name, then choose Add Keyframe from the
shortcut menu.
3 Move the playhead to a new time position.
4 Resize the object by dragging a scale handle.
A keyframe is added at the current frame. When you play back the project, the object is
scaled over the interval you set.
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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.
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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).
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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.
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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.
Additionally, you can set the keyframe type to curved or angled, changing the shape of
the path.
Note: When you drag a keyframe in the Canvas, the frame number corresponding to that
keyframe and its X, Y, and Z position values are displayed in the status bar (above the
Canvas).
To manipulate an object in the Canvas at a frame where no keyframe exists, use the
following guidelines:
• To reposition the object as well as its bounding keyframes without setting a new
keyframe for the object, drag the object’s center onscreen control (or anywhere on the
object’s animation path).
• To reposition the object and create a new keyframe, drag the object but not its center
onscreen control or animation path.
• To move the object and its entire animation path together, hold down Command-Option
and drag the object’s center onscreen control or any keyframe on the animation path.
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To add keyframes to an animation path
Double-click or Option-click the path.
A new keyframe point is added. By default, keyframe points are curved Bezier points.
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After a keyframe is added to an animation path, you can change its location on the path.
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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.
To change a keyframe point to be curved or angled
Do one of the following:
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To convert a keyframe point to be sharply angled, Control-click the keyframe and choose
Linear from the shortcut menu.
The handles of the keyframe disappear, leaving a linear keyframe.
To quickly convert the keyframe back to a curved Bezier point with handles,
Command-drag the keyframe.
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To convert a keyframe point from sharply angled to smoothly curved, Control-click the
keyframe and choose Smooth from the shortcut menu.
Bezier handles appear on the Smooth keyframe, and the animation path becomes curved.
To quickly convert a curved Bezier point back to an angled linear point, Command-click
the keyframe.
Note: The Very Smooth option is not available for animation paths and remains dimmed
in the shortcut menu.
Bezier handles are modified in the same manner as with shape or mask Bezier points. For
more information on manipulating Bezier splines, see Shape and Mask Drawing Tools.
The keyframe points can also be deleted, locked, or disabled.
To delete an animation path’s keyframe point
Do one of the following:
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Control-click a keyframe and choose Delete Point from the shortcut menu.
Select the keyframe, then press Delete.
The keyframe point is deleted from the path.
You can also lock an animation path keyframe.
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To lock an animation path’s keyframe point
Control-click a keyframe and choose Lock Point from the shortcut menu.
The keyframe is locked and can no longer be edited. To unlock the keyframe, Control-click
the locked keyframe and choose Unlock Point from the shortcut menu.
You can also disable an animation path keyframe.
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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.
To move the entire animation path
Do one of the following:
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Press Command-Option, then drag a keyframe on the animation path.
Press Command-Option, then drag a portion of the animation path between two
keyframes.
You can also move selected segments of the animation path by selecting adjacent
keyframes.
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To move a segment of the animation path
Drag the path segment between the two selected keyframes.
Note: You can also Shift-select the keyframes that bound the path segment or segments
you want to move, then drag one of the selected keyframes (or the segment between
two adjacent keyframes).
You can quickly select an adjacent keyframe, adding additional segments to your current
selection.
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To select an adjacent keyframe on the animation path
Click the path segment immediately to the right or to the left of a selected keyframe.
The adjacent keyframe is selected. Drag the path segment between the two selected
keyframes to move the segment.
Animating with the HUD
Parameters that appear in the HUD can be keyframed using the Record button or by
setting an initial keyframe. For example, when an object is selected in the Canvas, the
HUD gives quick access to the object’s opacity. To make a custom effect such as a
temporary dip to black, keyframe the opacity parameter in the HUD.
To animate a clip’s opacity
1 Place the playhead where you want to begin the fade.
2 Do one of the following:
• Click the Record button (or press A) to turn on keyframe recording, then click the
Opacity slider handle in the HUD.
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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.
7 If keyframe recording is on, click the Record button (or press A) to turn off keyframe
recording.
Keyframes at the Beginning and End of the Curve
When you begin adding keyframes, you instruct Motion to modify the in-between frames
to interpolate the effect. But what values are used for the frames before the first keyframe
and after the last one?
By default, when you add your first keyframe, that same value is extended forward and
backward to the beginning and end of the clip (as if you hadn’t added a keyframe).
After you add a second keyframe, the effect begins to change over time. The frames
before that first keyframe remain at the value of that first keyframe. Similarly, the frames
after the last keyframe hold at that last defined value.
You can override this default behavior to create loops and other patterns by using the
Before First Keyframe and After Last Keyframe submenus as described in the Extrapolation
section later in this chapter.
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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 using the Record button
1 In the Canvas, select the object to keyframe.
2 Click the Record button (or press A) to turn on keyframe recording.
3 Place the playhead on the frame where you want the effect to begin.
4 Open the Inspector pane corresponding to the parameter you want to modify (Filters, in
this example).
Note: When the Record button is turned on, animateable parameter values appear red.
When the Record button is off, parameter values that have no keyframes remain a light
shade of gray.
5 Set the parameter to the beginning value.
6 Move the playhead to a new position.
7 In the Inspector, change the parameter to a new value.
8 Click the Record button (or press A) again to disable record.
The parameter now changes over time.
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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.
• In the Properties Inspector, Control-click the parameter name, then choose Add Keyframe
from the shortcut menu.
• In the Properties Inspector, click the parameter’s Add/Delete Keyframe button.
A keyframe is added at the current frame, and the parameter appears red in the
Inspector.
5 Move the playhead to a new position.
6 In the Inspector, change the parameter to a new value.
The parameter now changes over time.
Animation Menu
The Animation menu in the Inspector provides additional options, such as the ability to
add keyframes to parameters, delete or reset keyframe information, navigate among
keyframes, open the Keyframe Editor, add Parameter behaviors, add parameters to Rigs,
and Publish parameters.
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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.
The Animation menu contains the following options:
• Show in Keyframe Editor: Opens the Keyframe Editor and displays the parameter’s
keyframes and curves. For more information, see Animating in the Keyframe Editor.
• Reset Parameter: Removes keyframes and settings for this parameter. The parameter
value is reset to its default value.
• Add To Rig: Lets you add a parameter to an existing rig, or to a new rig that you create
to control multiple parameters with a single checkbox, slider, or pop-up menu. Rigs
are useful when you create templates for Final Cut Pro X. For more information, see
Using Rigs and Creating Templates for Final Cut Pro X.
• Add Parameter Behavior: Opens a submenu listing all available Parameter behaviors
you can use to animate the parameter. For more information, see Applying Parameter
Behaviors to a Behavior.
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• 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. Choosing
Disable Animation hides the keyframes already set, restoring the parameter to its default
value. However, the keyframes are not thrown away. (A dash appears in the parameter
row to indicate the animation is disabled.) Choosing Enable Animation again returns
the parameter to its last keyframed state.
• Add Keyframe: Adds a keyframe at the current frame in the project. If the playhead is
positioned on a frame where a keyframe has been added, this menu command is
dimmed. To add a keyframe without accessing the Animation menu in the Inspector,
press Control-K. A keyframe is added to the last modified parameter of the object
(regardless of the status of the Record button) at the current frame.
• Delete Keyframe: Deletes the keyframe. The Delete Keyframe option is available only if
the playhead is positioned on a frame where a keyframe exists.
• Previous Keyframe: Moves the playhead to the previous keyframe for this parameter.
The Previous Keyframe command is available only if a keyframe exists earlier in the
project.
• Next Keyframe: Moves the playhead to the next keyframe for this parameter. The Next
Keyframe command is available only if a keyframe exists later in the project.
Note: You can also choose Mark > Go To > Previous Keyframe (or press Option-K) or
Mark > Go To > Next Keyframe (or press Shift-K) to move from keyframe to keyframe.
To set keyframes using the Animation menu
1 Change the value of the parameter you want to keyframe.
2 Click the Animation menu, then choose Add Keyframe.
A keyframe is added at the frame and the affected parameter appears red in the Inspector,
indicating any further edits at other playhead locations will add keyframes.
3 To set another keyframe for the same parameter, move the playhead to the next location,
then change the value of the parameter.
To delete a keyframe
1 Move the playhead to the frame where the keyframe is currently set.
2 Click the Animation menu for the parameter you want to change, then choose Delete
Keyframe.
Note: To delete all keyframes for a parameter, choose Reset Parameter from the Animation
menu.
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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.
Keyframed parameter
Behavior applied to parameter
Parameter not animated
Keyframed parameter with
keyframe at current frame
Add/Delete Keyframe Buttons
Moving the pointer over an animatable parameter reveals the Add/Delete Keyframe
button (a plus sign enclosed in a gray diamond). Click the button to place a keyframe for
that parameter at the current frame.
Keyframe exists at current
frame for this parameter.
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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. A gray diamond
button indicates that there is no keyframe at the current frame. Click this button to add
a keyframe at the playhead position. When you add a keyframe, the diamond turns orange,
indicating that there is a keyframe at the frame. Clicking the orange diamond deletes the
keyframe. When the playhead advances to a frame that is not keyframed, the diamond
turns gray.
Next Keyframe: A right angle bracket that appears when there is a keyframe to the right
of the playhead position. Click this control to move to the next keyframe in the Timeline.
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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.
Animating Filters
In addition to making changes to a clip’s basic attributes, keyframing can be used to
modify most parameters in the application. When the Record button is activated, any
parameter displayed on the HUD becomes keyframeable. For example, as you apply filters
to objects, the most important parameters are displayed on the HUD. Using keyframes,
you can animate those parameters. In this way, you can create a shot that grows more
distorted, blurry, or changes color over time.
To animate a filter using the HUD
1 Select an object to modify.
2 Apply a filter to the object.
The HUD changes to display the parameters for the filter. For more information on how
to apply filters, see Applying and Removing Filters.
3 Click the Record button (or press A) to turn on keyframe recording.
4 Place the playhead where you want the effect to begin changing.
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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.
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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. Animating
behaviors might appear complicated at first because most of the behaviors are already
changing, but combining these features is a powerful way to greatly enhance behaviors’
usefulness.
For example, you might want to animate a Random Motion behavior to begin as a subtle
random motion and then become increasingly severe as the effect progresses. Or you
might want to apply a Gravity behavior, but not have the object start falling toward the
ground until five seconds into the clip. Keyframes allow you to manipulate the parameters
of each behavior.
Certain parameters cannot be animated, such as the Throw Velocity parameter of the
Throw behavior and the Spin Rate parameter of the Spin behavior. If a parameter can be
animated, the following occurs:
• When keyframe recording is turned on (Record button), the parameter appears red in
the Inspector.
• Moving the pointer over the parameter row in the Inspector reveals the Add/Delete
Keyframe button.
Note: In Motion, you can bake all behaviors applied to an object into keyframes using
the Convert to Keyframes command in the Object menu. For more information, see
Converting Behaviors to Keyframes.
To animate a behavior using the Record button
1 Select an object in the Canvas.
2 Apply a behavior.
3 Click the Record button (or press A) to turn on keyframe recording.
4 Place the playhead at the frame where you want the effect to begin changing.
5 Using the HUD, adjust the behavior’s settings.
6 Move the playhead to a new time position.
7 Adjust the behavior settings again.
8 Click the Record button (or press A) to turn off keyframe recording.
Behaviors can be animated in the Inspector. For more information, see Animating Using
the Inspector.
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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.
Behavior motion path
Keyframe animation path
The way Motion handles this sort of conflict is to add the instructions together, giving
you a combination of the two sets of instructions. In the above example, the
behavior-driven object moves toward the upper left, but doesn’t get as far, because
keyframes are pushing it in an opposing direction.
Combined animation path
The larger the Throw velocity rate, the more the behavior overpowers the keyframes, and
vice versa.
You can use this method to enhance and control the effects of behaviors. For example,
you can apply a Gravity behavior that causes an object to fall toward the bottom of the
frame, then keyframe the object’s position to move across the screen from left to right.
In this way, you create the effect of the object falling as it moves.
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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.
Working with Keyframes in the Timeline
When keyframing, it is often helpful to view your keyframes in the Timeline. This lets you
move keyframes to line them up with other important timing elements in your project
such as edit points, sound cues, markers, and even other keyframes. You can also view
keyframe parameters, and delete keyframes you don’t need.
Keyframe
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To view keyframes in the Timeline
Turn on the Show Keyframes button (in the upper-right corner of the Timeline).
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To identify a keyframe’s value
Control-click a keyframe in the Timeline and view its value in the shortcut menu.
Note: Multiple keyframes on the same frame are listed in the menu.
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To view a Timeline keyframe in the Keyframe Editor
Control-click the keyframe in the Timeline, then choose Show in Keyframe Editor from
the shortcut menu.
The Keyframe Editor opens, showing the corresponding parameters in an “Untitled Set.”
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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. For example, if you have two keyframes
that animate an object from the top of the screen to the bottom over five seconds, moving
one of the keyframes forces the animation to occur more slowly (if you drag them farther
apart) or more quickly (if you drag them closer together).
When multiple keyframe values are set in the same frame, you can choose any value to
edit, although the values are represented by a single keyframe marker in the Timeline.
To edit a keyframe value present in the Timeline
1 Control-click (or double-click) the keyframe.
A shortcut menu appears. The first items in the list are the keyframe values for keyframes
on that frame.
2 Choose the keyframe value to edit.
3 Enter a value into the value field, then press Return.
Note: To exit an active value field without making changes, press Esc.
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To display a keyframe with its associated animation curve
Control-click the keyframe, then choose Show in Keyframe Editor from the shortcut menu.
The Keyframe Editor appears below the Timeline. For information on working in the
Keyframe Editor, see Animating in the Keyframe Editor.
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To delete a keyframe in the Timeline
Control-click the keyframe to delete, then choose Delete Keyframes from the shortcut
menu.
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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.
Aligning Keyframes in the Timeline
The advantage of manipulating keyframes in the Timeline is the ability to line up a
keyframe with other important elements in time. For example, you might want to align
a filter keyframe applied to one object with the In or Out point of another object, or a
marker, or a keyframe in another track.
In this way, you can arrange two objects to fade in or blur into focus at the same frame.
It doesn’t matter whether the objects are in the same group.
To align a keyframe to a marker in the Timeline
1 Turn on the Show Keyframes button and identify the keyframe to move.
2 Press the Shift key and drag the keyframe in the Timeline until it snaps to the marker.
In the following image, the keyframe snaps to the purple marker in the Timeline ruler.
Trimming Keyframed Effects
When the duration of an effect such as a filter or behavior is changed in the Timeline, the
timing of all keyframes applied to that effect are scaled proportionally. This means that
keyframed changes to an effect speed up or slow down if the effect is shortened or
lengthened. This happens whether you change the duration of the effect object bar, or
the duration of the image object bar an effect is applied to.
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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. This works similarly
to trimming a group without modifying durations of the component elements.
You can also prevent automatic keyframe retiming by pressing Command while changing
the duration of an effect object bar.
Animating in the Keyframe Editor
When you create two or more keyframes, Motion generates interpolated values for the
frames that come between. These are called curves. The Keyframe Editor is where you
can view and modify these curves, which is one of the most sophisticated and powerful
ways to animate objects and effects in your project.
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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.
The Keyframe Editor makes it easy to add and delete keyframes, as well as move them
in two-dimensional space to modify their values (up-down) and their positions in time
(left-right). You can also manipulate the curves with the tools Motion provides.
Further, you can define a variety of interpolation methods, creating dramatically different
types of effects. You can also apply Parameter behaviors to curves in the Keyframe Editor
by Control-clicking the curve name and choosing a Parameter behavior from the shortcut
menu. For more information about Parameter behaviors, see Applying Parameter Behaviors
and Parameter Behaviors.
Check Your Selection
The parameters available in the Keyframe Editor depend on which objects are selected
in other panes. If you select one item in the Layers list, Canvas, or Timeline, only
parameters for that object are accessible in the Keyframe Editor.
To compare curves from parameters across multiple objects (for example, to make two
objects begin fading in at the same time), you must select both items in the Layers list,
Canvas, or Timeline. As a result, parameters for both objects are listed in the Keyframe
Editor.
Additionally, you can modify all curves in a group if the group is selected. In this way,
you can view or modify keyframe activity that affects all objects in the group.
To display the Keyframe Editor
Do one of the following:
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Click the Show Keyframe Editor button in the bottom-right corner of the Motion window.
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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. For more information,
see Working with the Show Curve Set Pop-Up Menu.
Keyframe Editing Tools
Three tools are available to assist in editing keyframes and curves in the Keyframe Editor:
Sketch
Transform
Edit
Edit Keyframes tool: Lets you select and edit keyframes similarly to editing Bezier curves.
Sketch Keyframes tool: Lets you manually draw curves to generate keyframes conforming
to the shape drawn.
Transform Keyframes tool: Lets you drag a selection box to enclose and manipulate a
group of keyframes simultaneously.
For more information about using these tools, see Modifying Keyframes.
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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. Deselect a checkbox to hide a parameter’s keyframes and curves from the
graph on the right.
Parameter name: Object and parameter names appear in the second column of the
parameter list. Control-click a parameter name to apply a Parameter behavior from the
shortcut menu.
Value: Parameter values at the playhead position appear in the third column. Modify a
parameter value by dragging left or right over the number in this field. Or double-click
the field, then enter a value. The value displayed and editing options depend on several
factors:
• If the playhead is parked on a keyframe, this field shows the value for that keyframe.
Adjusting the value alters the keyframe.
• If the playhead is not parked on a keyframe, this field shows the value of that parameter
at the current frame. If the parameter has keyframes, adjusting the value creates a new
keyframe at that frame.
For more information on changing the values of keyframes, see Modifying Keyframes.
For more information on value sliders, see Value Sliders.
Keyframe and Keyframe Navigation buttons: Keyframe controls appear in the fourth
column. These controls are identical to those found in the Inspector: the Previous Keyframe
button, Add/Delete Keyframe button, and Next Keyframe button. For more information,
see Keyframe Controls.
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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. However, the keyframes are not thrown away. Choosing Enable Animation returns
the parameter to its last keyframed state.
• Reset Parameter: Removes keyframes and settings for the parameter, restoring the
default value.
• Add Keyframe: Adds a keyframe at the current frame in the Keyframe Editor. If the
playhead is positioned on a frame where a keyframe has been added, this command
is unavailable.
Note: You can use a keyboard shortcut (Control-K) to add a keyframe. A keyframe is
added to the last modified parameter of the object.
• Delete Keyframe: Deletes the current keyframe. This command is available if the playhead
is positioned on a frame where a keyframe exists.
• Previous Keyframe: Moves the playhead to the previous keyframe for this parameter.
This command is available if a keyframe exists earlier in the project.
• Next Keyframe: Moves the playhead to the next keyframe for this parameter. This
command is available if a keyframe exists later in the project.
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• 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.
• After Last Keyframe: Defines what happens between the last keyframe and the end 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.
• Lock/Unlock Parameter: Locks the parameter from changes. When a parameter is locked,
neither keyframes nor curves are adjustable.
• Reduce Keyframes: Opens the Reduce Keyframes dialog, which allows you to apply a
thinning algorithm to the keyframes for the parameter. This reduces the number of
keyframes in a parameter while preserving the shape of the curve. The thinning
algorithm can be adjusted in two ways. Increasing the Maximum Error Tolerance results
in fewer keyframes. Increasing the Smoothing Factor makes smoother curves between
keyframe values.
• Set to Curve Snapshot: Reverts keyframe changes made in the selected curve to the
most recent snapshot. This command is available when Take/Show Curve Snapshop is
turned on (the camera button in the upper-right corner of the Keyframe Editor). For
more information, see Curve Snapshots.
Keyframe Graph
The graph appears on the right side of the Keyframe Editor and displays the curves of
selected parameters. The graph has a time ruler at the top and a zoom/scroll control at
the bottom and side that are identical to the corresponding controls in the Timeline. The
time ruler shows where keyframes, project markers, playback In and Out points, and the
playhead are. Using the zoom controls at the bottom of the graph, you can focus on
regions of the sequence to edit. For more information on using the zoom/scroll controls,
see Zooming in the Timeline.
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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. This lets you
line up an effect to take place at the same time as an event that occurs in the audio. If
there are multiple audio tracks in the project, you can use this menu to view the waveform
of any individual audio track in the project, or the master track.
Display Waveform pop-up menu
Clear Curve List: A button that deletes all items in the parameter list from a custom set.
Fit Visible Curves in Window: A button that scales the curve graph to show all keyframes
of active parameters. There are times when the values of keyframes exceed the vertical
resolution of the graph. For example, as you stretch a keyframe, you can drag it so far
that you force the window to scroll.
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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. With a snapshot turned on, the original unaltered curve is
represented by a lighter color—visible in the background behind the curves you are
adjusting—and can be used as a reference showing the curve's original values. As long
as you remain in the Keyframe Editor editing the current set of curves, the snapshot curve
remains available. Clicking this button again causes the current snapshot to disappear.
For more information about curve snapshots, see Curve Snapshots.
Snapping: A button that turns on snapping. Keyframes snap to markers, other keyframes,
and other snappable items.
Auto-Scale Vertically to Fit Curves button: A button (the magnifying glass in the
upper-right corner of the Keyframe Editor) that continuously stretches the graph vertically
to show all curves.
When Auto-Scale Vertically to Fit Curves is on, the vertical range of the graph increases
to accommodate the entire curve even as you change it. For example, if you drag a
keyframe up to increase its value, as you drag past the top of the window, the whole
graph is rescaled, rather than scrolled.
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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. For more information, see Viewing the Canvas or Timing
Pane on a Second Display.
Filtering the Parameter List
Effective use of the Keyframe Editor requires controlling the list of parameters on display
in the curve graph. Although you might want quick access to all parameters you animate,
displaying too many parameters makes the graph difficult to read. Motion provides the
ability to store sets of parameters to facilitate this management.
Working with the Show Curve Set Pop-Up Menu
The Show Curve Set pop-up menu, located at the top of the parameter list, lets you display
11 built-in parameter curve sets as well as custom sets you build yourself. The menu
displays the name of the selected curve set (Animated, All, or Modified, for example).
The first option in the Show Curve Set pop-up menu lets you view all parameters
associated with a selected object (or multiple selected objects).
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To view all parameters for all selected objects
Choose All from the Show Curve Set pop-up menu.
By default, only animated parameters display curves in the graph; nonanimated parameters
appear as dotted lines. Deselect a parameter’s activation checkbox to hide it in the graph.
You can display or hide all parameters associated with a group or object by selecting or
deselecting its checkbox.
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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.
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To view only animated (keyframed or behavior-influenced) parameters
Choose Animated from the Show Curve Set pop-up menu.
Parameters with keyframes are displayed.
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To view parameters changed from their default values
Choose Modified from the Show Curve Set pop-up menu.
This option shows the parameters that have been modified from their default values, or
are currently being modified (in the Canvas, Inspector, or HUD).
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To view only active parameters
Choose Active from the Show Curve Set pop-up menu.
This option shows only parameters being modified in real time. For example, with Active
selected, dragging an object in the Canvas displays its X, Y, and Z Position parameters in
the Keyframe Editor.
Related Curve Sets
The next seven options in the Show Curve Set pop-up menu display specific parameters.
For example, to check the position of several related objects in a project, you can use the
Position curve set. Because you can display multiple related curve sets at the same time,
you don’t need to switch between curve set views. Curve sets are available for the
following parameters: Position, Rotation, Scale, Shear, Anchor Point, Opacity, and Retiming.
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To view the keyframes corresponding to a parameter for a selected object
Choose a parameter type (such as Rotation) from the Show Curve Set pop-up menu.
Only parameters of the chosen type are displayed.
To view the keyframes corresponding to a parameter for multiple objects
1 In the Layers list, Canvas, or Timeline layers list, Shift-select the objects that contain
keyframes you want to view.
2 Choose a parameter type (such as Scale) from the Show Curve Set pop-up menu.
Only parameters of the chosen type are displayed for the selected objects.
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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).
To create a curve set
1 Choose New Curve Set from the Show Curve Set pop-up menu.
A dialog appears.
2 Enter a name for the set, then click OK.
After you create a curve set, you can choose it from the Show Curve Set pop-up menu.
There are several ways to modify a custom curve set.
To add parameters to a custom curve set
Do one of the following:
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After you create a custom curve set, drag a parameter name from any panes in the
Inspector into the Keyframe Editor parameter list.
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Click the Animation menu for the parameter, then choose Show in Keyframe Editor.
The parameter is added to the custom curve set.
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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.
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To delete a parameter from a custom set
Drag the parameter out of the list.
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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.
The Manage Curve Sets dialog appears.
2 Select the name of the set to delete.
3 Click the Delete button (–) at the top of the dialog.
The set is deleted.
4 Click Done to close the dialog.
To duplicate a custom parameter set
1 Choose Manage Curve Sets from the Show Curve Set pop-up menu.
The Manage Curve Sets dialog appears.
2 Select the name of the set to duplicate.
3 Click the Duplicate button at the top of the dialog.
The set is duplicated.
4 Double-click the set name in the list, then enter a name for the set.
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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.
For example, if you created a custom curve set for an object’s Position and Rotation
parameters, and your project also contains another object with animated Position and
Rotation parameters, you can switch back and forth between their curve sets in the
Manage Curve Sets dialog.
To switch between custom curve sets
1 Choose Manage Curve Sets from the Show Curve Set pop-up menu.
2 Select the Relative checkbox in the left column of the Manage Curve Sets dialog.
The curve set is displayed for the currently selected object.
Saving Animation Curves
Animation curves can be saved in a folder in the Library, such as the Favorites category.
Alternatively, you can create a folder in a category. After an animation curve is placed in
the Library, it can be added to an object in any project. Animation curves saved in the
Library appear with a custom icon.
Note: Items saved to the Library appear in the Finder with a .molo extension (“Motion
Library object”). These items cannot be opened from the Finder.
You can save multiple curves to the Library as one file or multiple files. For example, if
you create an animation that uses multiple curves and you want to save the cumulative
effect of the animation, you can save all curves as one item in the Library.
Although you can save animation curves into the Content category, it is generally
recommended that you save items that you use frequently in the Favorites
category—some Motion Library categories contain so many items that using the Favorites
or Favorites Menu categories can save you search time. In the Favorites category, you
can create additional folders to organize custom items.
You can also create folders in existing categories, including Favorites, Favorites Menu, or
Content. Folders created in the Content category appear in the Library sidebar. Folders
created in subcategories, such as Basic Motion, appear in the Library stack and not the
sidebar. For more information on creating folders in the Library, see Saving and Sharing
Custom Behaviors.
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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.
When you save an animation curve, it’s placed in the /Users/username/Library/Application
Support/Motion/Library/Favorites/ or /Favorites Menu/ folder.
Note: If you drag an animation curve to another subcategory, such as the Glow (Filters)
subcategory, the curve is placed in the Content category, which becomes active.
To save multiple animation curves to the Library
1 Open the Library and select the Content, Favorites, or Favorites Menu category.
2 In the parameter list of the Keyframe Editor, select the animation curves you want to save
and drag them to the stack, holding the mouse button down.
3 When the drop menu appears, choose “All in one file” or “Multiple files.”
“All in one file” saves the animation curves together, listed as one item in the Library.
“Multiple files” saves the curves as individual items in the Library.
4 To name the file, do one of the following:
• Control-click its icon in the Library stack, choose Rename from the shortcut menu, then
enter a descriptive name.
• Select the icon, click its name, then enter a descriptive name.
Note: When you Control-click an animation curve icon in the Library stack, the Edit
Description shortcut menu item 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, then click OK.
Modifying Keyframes
The Keyframe Editor provides an ideal environment for manipulating keyframes because
you can simultaneously see their values, placement in time, and how the changes affect
the interpolative curves surrounding them.
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Using the Edit Keyframes Tool
To use the following set of instructions, select the Edit Keyframes tool (above the Keyframe
Editor parameter list.
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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. For example, position channels default to using Bezier curves, so
new keyframes are added as Bezier keyframes. For more information on interpolation
methods, see Modifying Curves.
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To add a keyframe to an animation curve and adjust its value
Option-drag a curve segment.
A keyframe is added to the segment, and its value is displayed as you drag the keyframe.
To change the value of a keyframe
Do one of the following:
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In the graph area, drag the keyframe along the Y axis (up and down) to change its
parameter value. To change its position in time, drag along the X axis (left to right).
Press the Shift key while dragging to constrain movement to one axis.
Tip: Keyframes can also be constrained to the Y axis by turning on “Lock keyframes in
time in Keyframe Editor” in the Time pane of the Motion Preferences window.
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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.
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Double-click the keyframe to modify, enter the value into the value field, then press
Return.
Current frame
Keyframe value
This changes the value of the keyframe along the Y axis (up and down).
Note: To dismiss an active value field without making changes, press Esc.
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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.
2 Do one of the following:
• To move the selected keyframes to a specific frame: Enter a number, then press Return.
• To move the selected keyframes forward by a specific number of frames: Enter a plus sign
(+) and the number of frames, then press Return.
• To move the selected keyframes back by a specific number of frames: Enter a minus sign
(–) and the number of frames, then press Return.
To delete a keyframe
Do one of the following:
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Select the keyframe, then press Delete.
Note: You can drag to select multiple keyframes.
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Control-click the keyframe, then choose Delete from the shortcut menu.
Navigate to the keyframe, then choose Delete Keyframe from the Animation menu for
that parameter.
To delete all of a parameter’s keyframes
Click the Animation menu in the parameter list, then choose Reset Parameter.
Note: You can also use the Animation menu in the Inspector.
In addition to modifying keyframes, you can add and delete keyframes in the graph.
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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.
2 Control-click a selected keyframe, then choose Reverse Keyframes from the shortcut
menu.
The keyframes are reversed.
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To lock keyframes
Select the keyframes to lock, then control-click a keyframe and choose Lock from the
shortcut menu.
Lock prevents further modification the keyframes.
Tip: You can also lock all keyframes in the Keyframe Editor by selecting “Lock keyframes
in time in Keyframe Editor” in the Time pane of Motion Preferences.
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To disable a curve
Select the keyframes to disable, then Control-click a keyframe and choose Disable from
the shortcut menu.
Disabled keyframes are ignored and have no effect on the object’s animation. If you
disable a keyframe, the curve readjusts itself as if that keyframe didn’t exist, even though
the keyframe is present in the Keyframe Editor, in a dimmed state.
Copying and Pasting Keyframes and Animation Curves
Keyframes and the animation curves they form can be moved from one parameter to
another using copy and paste commands. This technique can be useful for copying a
keyframe effect from one object to another, for moving a keyframe path earlier or later
in the same parameter, or for creating keyframes on one parameter and applying them
to another.
To copy keyframes, select the keyframes you want to copy, individually or as an entire
curve.
To select keyframes
Do one of the following:
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Using the Edit Keyframes tool, drag a selection box in the graph area around the keyframes
to select.
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Shift-click the keyframes you want to select.
After you select the keyframes, cut or copy them to move them to the Clipboard.
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Note: If the curve appears white (and not the keyframe), the keyframes are not selected.
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To copy selected keyframes
Choose Edit > Copy (or press Command-C).
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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).
2 Place the playhead at the point where you want the keyframes to begin.
3 Choose Edit > Paste (or press Command-V).
Note: Pasted keyframes might not make a curve identical to the original if the parameter
scales are different.
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To copy selected animation curves
Choose Edit > Copy (or press Command-C).
To select an animation curve
Do one of the following:
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Select a parameter row in the parameter list of the Keyframe Editor.
Shift-click or Control-click in the parameter list to select multiple parameters.
After you select the parameters, you can cut or copy them to move them to the Clipboard.
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To cut selected animation curves
Choose Edit > Cut (or press Command-X).
When pasting animation curves, any keyframes in destination parameters are replaced,
and the timing of the original keyframes is retained in the new destination.
To paste animation curves
1 In the parameter list of the Keyframe Editor, select the destination parameter.
2 Choose Edit > Paste (or press Command-V).
Note: Pasted animation curves might not make a curve identical to the original if the
parameter scales are different.
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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).
3 Drag in the graph area to sketch an animation curve.
Drawing new keyframes overwrites existing keyframes at the frames where you draw.
Parameter and Sketch Keyframes
tool selected
Curve of new keyframes
added to existing
animation curve
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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.
To draw a selection box using the Transform Keyframes tool
1 Select the Transform Keyframes tool (above the parameter list).
Keyframed parameters
before selection
2 In the graph area, drag to create a box enclosing the keyframes to manipulate.
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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. You can adjust keyframe in sub-frame
increments if the “Allow sub-frame keyframing” checkbox is turned on in the Time pane
of Motion Preferences. Sub-frame adjustments allow greater precision, but use the
Next/Previous Keyframe controls (or keyboard shortcuts) to move the playhead to
keyframes that are between frames. If you move a sub-frame-adjusted keyframe using
the pointer, the frame snaps to the nearest whole frame.
Transforming Keyframes
Repositioning the handles of the selection box is similar to dragging the handles of a
bounding box of an object. The difference in this case is that the transforms done by
moving these handles affect the selection box and the enclosed keyframes. Moving the
selection box moves the selected keyframes in whatever direction you move. As a result,
you can affect where the keyframes are positioned in time or you can affect their
parameter values, or both at the same time. Scaling the selection box scales the
keyframes in the selection box, changing their timing and parameter values.
Experiment with the selection box to see how manipulation affects the enclosed
keyframes.
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To move the selection box
Drag inside the selection box to move the box and the enclosed keyframes.
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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.
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To scale the selection box relative to the handle opposite the one you’re dragging
Drag any handle to resize the selection box.
The selection box changes shape relative to the handle on the opposite side or corner
of the box, which remains locked in place.
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To scale the selection box about its center
Hold down the Option key and drag a handle of the selection box.
Both sides of the box scale up or down around its center as you drag along the axes.
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To deform the selection box asymmetrically
Hold down the Command key and drag a corner handle of the selection box.
Each corner handle moves independently of the other three corner handles of the selection
box.
To deselect the selection box
Do one of the following:
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In the Keyframe Editor, click once anywhere outside the selection box.
Choose the Edit Keyframes tool.
The selection box disappears.
Tip: You can also draw a new selection box outside of the old one to surround a different
group of keyframes.
Manipulating Animation Curves
You can select and move animation curves in the graph area of the Keyframe Editor.
To move the entire curve
Do one of the following:
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Press Command-Option, then drag a keyframe on the curve.
Press Command-Option, then drag a curve segment between two keyframes.
You can also move selected segments of the curve by selecting adjacent keyframes.
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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.
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To take a curve snapshot
Click the Take/Show Curve Snapshot button in the upper-right corner of the Keyframe
Editor.
With Take/Show Curve Snapshot enabled, as you move keyframes in the Keyframe Editor,
the original curve—as it appeared when you took the snapshot—retains its color. As long
as you remain in the Keyframe Editor editing the current set of curves with the Take/Show
Curve Snapshot button enabled, the snapshot curve remains available.
New curve (white)
Original curve (purple)
If, after editing a curve, you want to revert to the snapshot, you can do so from the
Animation menu in the Keyframe Editor.
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To revert a curve to its most recent snapshot
From the Animation menu in the Keyframe Editor, select Set to Curve Snapshot.
The curve reverts to the state of its last snapshot.
Important: If you leave the Keyframe Editor, or load a different set of curves into the
Keyframe Editor, curve snapshots are taken again, replacing the previous curve snapshots.
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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. The
method you choose determines the distribution of values through, into, or out of the
selected keyframe. By using different preset mathematical algorithms, you can dramatically
alter the impact of your effects.
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To set an interpolation method for a keyframe
Control-click a keyframe, choose Interpolation from the shortcut menu, then choose a
method from the submenu.
Select multiple keyframes, Control-click one of them, choose Interpolation from the
shortcut menu, then choose a method from the submenu.
The interpolation method chosen is applied to the entire selection.
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To set an interpolation method on a curve segment
Control-click a segment between two keyframes, choose Interpolation from the shortcut
menu, then choose a method from the submenu.
Only the segment between the surrounding two keyframes is affected by the interpolation
method you choose. You can set different interpolation methods for other segments of
the same curve.
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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.
• Linear: When applied to a keyframe, this method creates a uniform distribution of
values through the keyframe from its two adjacent keyframes. When applied to a
segment, this method creates uniform distribution of values between points.
• Bezier: This method lets you manipulate the keyframe curve manually by dragging the
handles. If multiple Bezier keyframes are selected, or Bezier interpolation is applied to
the curve segment, the handles of all selected keyframes are modified.
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• 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.
• Exponential: This method creates an exponential curve between the current keyframe
and the next, changing the value slowly at first, then reaching its maximum rate of
acceleration as it approaches the next keyframe.
• Logarithmic: This method creates a logarithmic curve between the current keyframe
and the next, changing the value rapidly at first, then slowing drastically as it approaches
the next keyframe.
• Ease In: This method has a reverse-inertia effect, so a value change slows coming into
a keyframe. When applied to a curve segment, the value change eases into the segment.
This option is available only when you Control-click a keyframe; it is not available in
the Animation pop-up menu.
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• 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.
Alternatively, you can apply an interpolation method to the entire parameter.
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To change the interpolation method for an entire parameter
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 that parameter’s curve.
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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. Motion
lets you convert any keyframe into a Bezier keyframe.
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To convert a keyframe into a Bezier keyframe
While holding down the Command key, drag the keyframe in the keyframe graph.
Bezier handles appear and your mouse movement controls one of the handles.
Note: Command-clicking a Bezier point resets it to Linear interpolation.
To simultaneously modify the handles for more than one control point, Shift-click to select
multiple points, then adjust the tangents. If there are no tangents on the point, drag it
while holding down the Command key.
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To adjust tangents of a control point
Hold down the Option key and drag a tangent to adjust it independently of the other.
Hold down the Option key while dragging the handle of a control point with broken
handles to lock them together again.
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Control-click a tangent’s handle, then choose Link tangent to constrain one broken
tangent to another so both move together.
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Control-click a tangent’s handle, thenchoose Align Tangents to line both tangents up
again.
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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. Several extrapolation methods are available Before First Keyframe
and After First Keyframe submenus in the Animation menu: Constant, Linear, Ping-Pong,
Repeat, and Progressive.
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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.
To apply an extrapolation method to a parameter after the last keyframe
Click in the fifth column of the parameter list in the Keyframe Editor to open the Animation
shortcut menu for the parameter to change, then choose an item from After Last Keyframe
submenu.
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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.
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• 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.
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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.
Original keyframe graph
Repeat extrapolation applied
Generate Keyframes applied, set to one cycle
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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. Animations created
in a mini-curve editor don’t appear in the Keyframe Editor.
Two Particle behaviors—Scale Over Life and Spin Over Life—have mini-curve editors in
the Inspector (when the Increment Type parameter is set to Custom). Mini-curve editors
are also present for paint objects, in the Stroke pane of the Shape Inspector.
By default, the mini-curve editor is collapsed and shows a scaled-down representation
of the parameter curve.
Collapsed mini-curve editor
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To expand a mini-curve editor
Click the disclosure triangle next to the collapsed mini-curve editor.
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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.
To add keyframes in the mini-curve editor
Do one of the following:
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Double-click the curve.
Option-click the curve.
Control-click the curve, then choose Add Keyframe from the shortcut menu.
To modify a keyframe value in the mini-curve editor
1 Double-click the keyframe in the mini-curve editor.
Its value field is activated.
2 Enter a value in the value field, then press Return.
Note: To dismiss an active value field without making changes, press Esc.
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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.
The Auto Fit checkbox sets whether Motion scales the animation curve to fit within the
confines of the mini-curve editor.
Animating on the Fly
Another powerful feature that Motion offers is the ability to create animations while your
project is playing back. This is similar to how audio engineers adjust sliders for each audio
channel while listening to the mix. The next time the project is played back, all changes
are incorporated.
Because so many of Motion’s effects are displayed in real time, you can perform a sort of
“visual mix” and modify the parameters of your effects while the project is playing back.
For example, it is not until you see the elements in your project as a whole that you can
know whether each part is behaving as it should. One object might be fading too slowly
and making another element hard to see, or a text element can come and go so quickly
that it’s impossible to read. With keyframing on the fly, you can make adjustments to any
slider or parameter in the program while your project is playing. You can also interactively
manipulate objects in the Canvas. Then, if you don’t like what you did, rewind and do it
again. Each time you alter a parameter, you replace keyframes previously assigned.
To animate a parameter on the fly using the Inspector or the HUD (using the Record
button)
1 Click the Record button (or press A) or choose Mark > Record Animation to turn on
keyframe recording.
2 Click the Play button or press the Space bar to begin playback.
3 As your project plays, adjust a parameter slider.
4 Disable Record.
The changes you made during playback are recorded as keyframes for that parameter.
You can view them in the Keyframe Editor.
Note: You can also animate on the fly using the initial keyframe method. For more
information on the initial keyframe method, see Using the Initial Keyframe Method.
If you don’t like the animation you made, you can delete the keyframes and try again.
You can choose Edit > Undo (or press Command-Z) to revert to the state before you
began recording your animation, or you can manually delete the keyframes to replace.
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To delete keyframes
Do one of the following:
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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. Although
you can choose various curve types, it is very difficult to simulate semirandom movement
except by sketching with a mouse or pen.
To create a handmade animation path in the Canvas
1 Enable Record (press A).
2 Click the Play button to begin playback.
3 Select the object to manipulate and drag it in the pattern of your choice.
The position and speed of your movement are recorded and applied to the position
keyframes for that object.
Keyframes close together indicate
slower movement.
Keyframes spaced far apart
indicate fast movement.
You can further manipulate the path by dragging individual keyframes, or re-recording
a new animation path for that object.
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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. Often, this provides a smoother rate of change and lets you take advantage
of interpolation methods such as Bezier or Continuous.
You can simplify your keyframes in two ways: while you are recording them, or afterwards,
by simplifying an existing animation curve using the Reduce Keyframes command in the
Animation menu for that parameter.
To reduce keyframes in an animation curve
1 Click the Animation menu (the fifth column in the Keyframe Editor parameter list), then
choose Reduce Keyframes from the Animation menu.
The Reduce Keyframes dialog appears.
2 Adjust the Error Tolerance and Smoothing parameters to obtain the curve you want.
Reduce Keyframes option
(in Keyframe Editor Animation
menu) applied to Position Y
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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:
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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.
The Recording Options dialog contains the following options:
Keyframe Thinning: Select one of three keyframe-thinning options:
• Off: No thinning is applied. Keyframes are added at every frame where the parameter
is changed.
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• 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. To prevent creating accidental animation,
you can restrict automatic keyframing so it happens only when the project is not playing.
To disable animation recording while playing
1 Choose Mark > Recording Options.
The Recording Options dialog appears.
2 Select “Don’t Record keyframes during playback.”
3 Click OK.
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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).
The keying filters in Motion offer a powerful and comprehensive set of tools for creating
expert color and luma keys. Best of all, the Motion keying filters are easy to use.
Green screen clip
Key