Apple Motion User Guide 5.2 Operating Instructions 52 UG EN

User Manual: apple Motion - 5.2 - Operating Instructions Free User Guide for Apple Motion Software, Manual

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What is Motion?

Motion is a behavior-driven motion graphics application used to

create stunning imaging effects in real time for a wide variety of

broadcast, video, and film projects.

In Motion, you can:

Create sophisticated animations on the fly using any of more

than 200 built-in motion and simulation behaviors, such as

Spin, Throw, or Orbit, which allow you to add dynamic motion

to your projects in real time, with no preview rendering time

necessary.

Build complex visual effects using one or more of nearly 300

Motion basics

Build complex visual effects using one or more of nearly 300

filters such as Glow, Strobe, or Bleach Bypass.

Animate the traditional way, using keyframes and modifiable

curves, to create precise timing effects.

Create polished text effects, from the simple (lower-thirds and

credit rolls) to the complex (3D titles, animated effects,

sequencing text).

Create custom effect, transition, title, and generator templates

for automatic export to Final Cut Pro X. You can also modify

the effects, transitions, titles, and generators that ship with

Final Cut Pro.

Use rigging to map multiple parameters to a single control (for

example, a slider that simultaneously manipulates size, color,

and rotation of text) in Motion compositions or in templates

exported to Final Cut Pro X.

Build compositions by selecting from royalty-free content,

such as vector artwork, animated design elements, and high-

resolution images.

Retime footage to create high-quality slow-motion or fast-

motion effects.

Stabilize camera shake or create complex motion-tracking

effects such as match moves and corner-pinning.

Perform advanced compositing and green screen effects.

Build fluid 3D motion graphics for show intros, bumpers,

commercials, or title sequences.

Create sophisticated particle systems involving large numbers

of automatically animated objects in 2D or 3D space.

Build complex patterns of repeating elements using the

powerful replicator tool, then animate the resulting collages in

2D or 3D space.

Publish your projects directly to websites such as YouTube

and Facebook, or send your motion graphics to iTunes for

syncing with Apple devices such as iPad, iPhone, and Apple

TV.

Motion workflow

The basic process of working in Motion is described below. You

don’t have to do every step, and you might do other tasks that

aren’t listed here.

Create a project

You can create a blank project, open a preset composition, or

create a template for use in Final Cut Pro X.

Add media

Typically, you import media to create a composition. You can,

however, create entire projects using the built-in content that

comes with Motion, such as preset particle emitters, text, or

generators. Each media item added to your project becomes a

layer in your composite.

Add or create effects

Now the fun really begins. Whether you’re building simple

animated backgrounds, creating green screen composites or 3D

composites, or assembling complex motion-graphics animations,

the effect possibilities are nearly limitless.

Share your composition

When your project is finished, you can publish your movie right

from Motion to the web, or send it to iTunes, iPad, iPhone, iPod,

or Apple TV. You can also burn a disc to give to others.

Motion interface at a glance

The Motion interface is divided into several functional areas.

Project Browser

When you open Motion, the Project Browser appears. Use this

window to create new projects or open existing projects.

For more information, see .

Main workspace

After you open a project via the Project Browser, the main

workspace appears. Use this window to build, modify, and

preview your motion graphics projects. The main workspace is

divided into several functional areas, described in detail below.

Create a new project

File Browser

The File Browser, located on the left side of the main workspace,

displays all files on your computer and networked disks.

Navigating the File Browser is similar to navigating a window in the

Finder.

When you select a file in the File Browser, a visual preview

appears in the top-left corner of the Motion workspace, along with

the file’s metadata.

Library

The Library, located on the left side of the main workspace,

contains effects, content, presets, behaviors, filters, and other

elements available in Motion. You can expand the Library content

by adding fonts, music, or photos, or by saving content and

effects that you create in Motion.

When you select an item in the Library, a visual preview appears

in the top-left corner of the Motion workspace. The preview area

also contains text information for the selected item, such as a

description of the behavior, filter, or generator.

Inspector

When you select an object in your Motion project—an image,

video clip, or effect—its parameter controls become available in

the Inspector, located on the left side of the main workspace,

ready for adjustment.

There are four Inspector categories, each of which displays

parameter controls for the selected object:

Properties Inspector: Contains controls for setting basic

attributes of the selected object, such as position, scale, and

blending.

Behaviors Inspector: Contains controls for adjusting attributes

of behaviors—animation and simulation effects that you can

apply to objects in your project.

Filters Inspector: Contains controls for adjusting attributes of

filters—visual treatments that you can apply to objects in your

project.

Object Inspector: Contains controls that vary depending on

the type of object selected. The name of this Inspector is also

context-sensitive, changing depending on the type of object

selected, such as Camera, Text, or Shape.

Heads-up display (HUD)

The most commonly used Inspector controls are also available in

the heads-up display (HUD), a floating window that you can show

or hide. For more information, see .

Project pane

The Project pane (located between the File Browser, Library, or

Inspector and the Canvas) contains three lists, each of which

Transform layers in the HUD

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.

Canvas

The Canvas is the visual workspace where you modify and

arrange 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. The composition in the Canvas is what will

be output when you share a project.

The buttons centered at the bottom of the Canvas are transport

controls. Use them to play your project and see how it looks over

time.

Toolbar

You can access tools for editing and creating objects in the

toolbar, located in the center of the Motion workspace. There are

tools that transform objects in 2D or 3D space; tools that create

text, shapes, and masks; buttons that add cameras, lights,

generators, particle systems, and replicators; and pop-up menus

that apply filters and behaviors to objects.

Timing pane

The Timing pane, located at the bottom of the Motion workspace,

lets you view and modify the time component of a project’s

contents. There are three panes that control a different timing

aspect of a project:

Video Timeline: Provides an overview of objects in the project

and how they’re laid out over time.

Audio Timeline: Provides an overview of audio components in

the project and how they are laid out over time.

Keyframe Editor: Displays the animation curves for animated

parameters and effects.

Basic components of Motion

The composition you build in Motion, then save and share, is

called a project. The basic components of your project—images,

video clips, applied special effects, and so on—are represented in

the interface as objects that you can select, drag, and manipulate

in various ways. There are several categories of objects that you’ll

use in every project:

Groups: The basic containers used in a project to organize

imported media and Motion content and effects. A group can

contain one or more objects, as well as other, nested groups.

Layers: A specific kind of object that you can see in the

Canvas, including:

Images or video clips: Still pictures and movies that you

import into Motion. See

Shapes: Rectangles, circles, lines, and more complex

Add and manage content

overview

Shapes: Rectangles, circles, lines, and more complex

shapes that you create in Motion using the shape tools.

See .

Masks: A special type of shape used to create regions of

transparency in layers. See

Paint strokes: Freehand shapes drawn in a single,

continuous movement. See

Text: Type that you can add and animate in a project. See

Particle systems: Sophisticated animation effects

composed of swarming small particles. You can create

your own particle systems or apply the pre-built particle

systems that come with Motion. See .

Replicators: Patterns of repeating visual elements you can

create or apply to build cascading arrays of kaleidoscopic

imagery. See .

Generators: Graphical images that come with Motion,

including colors, bars, stripes, and gradients that you can

add to your project. See .

Effects objects: Special effects that you apply to visual layers.

Effects objects are not visible in the Canvas on their own;

rather, they modify the visual layers you see in the Canvas.

Motion includes the following effects objects:

Cameras: An angle of view that you can adjust or animate

to create the illusion of panning, dollying, or zooming

through your composition. See .

Lights: Simulated illumination sources that you can direct

Shapes, masks, and paint strokes overview

Shapes, masks, and paint

strokes overview

Shapes, masks, and paint

strokes overview

Basic text overview

Particles overview

Replicator overview

Generators overview

Add a camera

Lights: Simulated illumination sources that you can direct

at any visible layer in the canvas. See .

Behaviors: Sophisticated animation and simulation effects

that you can apply to the visual layers in your project. For

example, you can use the Spin behavior to make a shape

rotate over time at a rate you specify. See

Filters: Special visual effects used to modify the

appearance of visual layers in Motion. For example, you

can use a blur filter to make an image or shape appear to

be out of focus. You can also animate filters. See

In Motion Help, the term object is often used to describe the

superset of all elements (groups, layers, and effects objects) that

comprise and act upon a composition. Layer, however, always

refers to the image-based elements acted upon—the visual media

you see in the Canvas.

About mice, keys, and multi-touch

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 this documentation.

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 .

Add lights

Behaviors

overview

Filters

overview

Keyboard shortcuts overview

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.

Create and manage projects

overview

Creating a project is the first step in the Motion workflow. The

easiest way to create a new project (or to open an existing

project) is to use the Project Browser window. When you open

Motion, the Project Browser appears.

Use the options in the browser to specify the type of project you

want to open:

A new standard (“blank”) Motion project

Create and manage projects

A new standard (“blank”) Motion project

A previously opened Motion project

A predesigned composition template that you can customize

A new blank project based on one of the supplied

Final Cut Pro templates (effects that you build in Motion for

use in Final Cut Pro X)

Before opening the new project, you can also use the Project

Browser to modify your project properties—resolution (width and

height), frame rate, and duration. For example, you might want to

choose properties that will match your planned output format.

Regardless of the project properties you choose, after you create

a project, 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.

After you create a project, you can or save or revert it, play it

back, or modify its properties.

Create a new project

You can create a Motion project from scratch, using the standard

project settings in the preview area of the Project Browser. If none

of the presets meets your needs, you can create a project with

custom properties. You can also create projects prepopulated

with selected media. Additionally, you can create projects based

on or on

Create a basic project

1. Open Motion or, if it’s already open, Choose File > New (or

press Command-N).

2. In the Project Browser, select the Blank category in the

sidebar, then click the Motion Project icon.

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.

Important: Frame rates cannot be changed for existing

projects.

A new, untitled Motion project opens. The project is not saved

to your storage device until you choose a save command from

the File menu. For more information on saving project files, see

Create a project with custom properties

1. Open Motion or, if it’s already open, Choose File > New (or

press Command-N).

2. In the Project Browser, select the Blank category in the

sidebar, then click the Motion Project icon.

predesigned motion graphics templates special

templates for use as effects in Final Cut Pro X

Save, autosave, and revert projects

3. Click the Preset pop-up menu on the right side of the browser,

then choose Custom.

Additional properties controls appear.

4. Set the resolution (width and height), field order, aspect ratio,

frame rate, and default duration for your custom project.

5. Click Open.

A new, untitled Motion project opens using the custom

properties you specified.

Create a project prepopulated with specific

media files

1. Do one of the following:

Choose File > Import as Project or press Shift-Command-I.

Open the Project Browser, then 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.

3. If needed, set the frame rate, aspect ratio, field order, and

audio mix settings.

Except for the Frame Rate parameter, these settings can be

modified after the project is created, in the Properties

Inspector. For more information, see

Note: 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

4. Click Import as Project.

A new project populated with the media you selected opens.

SEE ALSO

Open an existing project

There are many ways to open an existing Motion project. You can

open projects and templates via the Project Browser, the Motion

Project properties

overview

About image sequences

Use templates overview

Final Cut Pro templates overview

File menu, or the Finder.

Open a project from the Project Browser

1. In the Project Browser (press Command-N), then select a

category in the sidebar to limit which items are displayed in

middle of the browser.

2. Select an item from the middle of the browser.

A video preview, if available, plays in the preview area on the

right.

3. If necessary, modify the resolution, frame rate, and default

duration 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.

Open a project file from within Motion using

the Open command

1. With Motion open, 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.

Open an existing Motion project file that

does not appear in the Project Browser

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.

1. In the Project Browser, click Open Other (or press Command-

O).

The Open dialog appears.

2. In the Open dialog, navigate to a Motion project file, select it,

then click Open.

Open a recent project

Do either of the following:

In Motion, choose File > Open Recent, then choose a project

from the submenu.

From the Project Browser, click Recent in the sidebar, select a

project from the center of the browser, then click Open.

Open a project file from the Finder

From the Finder, do one of the following:

Double-click a Motion project file.

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 a Motion application icon in the Dock).

Select a Motion project file, then choose File > Open (or press

Command-O).

Control-click a Motion project file, then choose Open from the

shortcut menu.

The project you selected opens in Motion workspace.

Tip: You can search for Motion projects via Spotlight in the

Finder. For more information, see

Search for projects using the

Finder

Close a project

Click the close button in the top-left corner of the project

window (or press Command-W).

Search for projects using the Finder

Spotlight indexes the following properties of Motion projects,

allowing you to perform advanced searches. Use Spotlight in the

Finder (the magnifying glass icon in the OS X menu bar) to take

advantage of this feature.

Project property Description

Layer name The name of a layer in a

project

Media name The name of a media

object in a project

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

Bypass 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’s opened in the Motion

workspace with the settings you established.

1. Choose Motion > Preferences (or press Command-Comma).

The Motion Preferences window appears.

2. Click Project.

3. In the For New Documents area, 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. Select a category in the sidebar and a project type from the

center area, then choose a preset (if available) 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.

Create, edit, and delete project

presets

If you commonly create projects using properties that don’t match

any available preset, you can create a custom preset 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

Create a custom preset

1. Choose Motion > Preferences (or press Command-Comma).

2. Click Presets.

3. Click the Add button (+) beneath the presets list.

The Project Preset Editor appears.

Bypass the Project Browser

4. In the Project Preset Editor, enter the following information:

a. Name: Type a name for the preset.

b. Description: Type a brief description of what that preset is

for, including significant characteristics such as frame size

and frame rate.

c. Width and Height: Enter a frame size.

d. Pixel Aspect Ratio, Field Order, and Frame Rate: Choose

settings from the corresponding pop-up menus.

5. Click OK.

The new preset appears in the Presets pane and in the Preset

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

Duplicate and edit an existing preset

The project presets that come with Motion cannot be modified.

However, you can duplicate an existing preset and then modify 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.

3. Select the duplicated preset, then click Edit.

If you select a built-in preset (designated by a lock icon), an

alert dialog appears asking if you want to duplicate the preset.

4. When the Project Preset Editor appears, make your changes,

then click OK.

Note: You cannot edit or delete locked project presets.

Delete a custom preset

1. In Motion Preferences, select a preset in the Presets pane.

2. Click the Delete button (–) underneath the presets list.

Supported

media formats

Note: You cannot edit or delete locked project presets.

Save, autosave, and revert projects

It’s wise to save early and often as you work on your project. 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 want to keep

your current composition but create a variant version, use the

Save As command to save a duplicate of the current project. If

you want to gather all media used in a Motion project into a single

folder, use the Collect Media option when you save. There are

also commands that let you revert to a previously saved version of

your project.

Save a project

1. Choose File > Save (or press Command-S).

If the project has not been saved, the Save As dialog appears.

Note: If the project has been saved, the project file is

updated without opening a dialog.

2. Enter a name into the Save As field, choose a save location on

your storage device, then click Save.

Save a duplicate of a project

1. Choose File > Save As (or press Shift-Command-S).

The Save As dialog appears.

2. Enter a name into the Save As field, choose a save location on

your storage device, then click Save.

Save a project and collect all project media

into a folder

When saving a project, you can have Motion copy the all media

files used in the project into a single folder, making portability and

backup easier.

1. Choose File > Save As (or press Shift-Command-S).

The Save As dialog appears.

2. Click the Collect Media pop-up menu, then choose Copy to

Folder.

If you want to collect all media files in your project, including

those not used in the current composition, select Include

Unused Media.

3. Enter a new name for the file in Save As field, choose a save

location on your storage device, then click Save.

Motion creates a folder with the name specified in the Save As

field and places two items in the folder:

A project file with the same name as the folder

A folder named “Media” containing all media files used in

the project

Important: When using the Save As command, use a name

that’s different from the name of any previously saved

versions of the same project. Otherwise, you run the risk of

overwriting a version of the project that you want to keep.

Revert a project to the last saved version

The Revert to Saved command discards all changes you’ve made

to a project since the last time you saved it.

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 .

Choose File > Revert to Saved.

Important: This command cannot be undone.

Autosave projects to a specific storage

location

By default, Motion automatically saves backups of your project at

set intervals. In the Cache pane of Motion Preferences, you can

specify how frequently projects are autosaved, as well as the

storage location of the autosaved project files. Autosaved project

files are time- and date-stamped.

1. Choose Motion > Preferences (or press Command-Comma).

2. Click Cache.

3. In the Autosave area, select Use Autosave Vault (if it’s not

already selected).

Edit menu

By default, the Autosave Vault folder is located in your

/Users/username/Movies/Motion Projects/ folder.

4. If you want to set a different location for the Autosave Vault

folder, click Choose, select a new location, then click Choose.

Revert to an autosaved project

If you’ve been using the autosave feature to back up your project,

you can revert your project to an earlier autosaved version.

1. Choose File > Restore from Autosave.

The Restore Project dialog appears.

2. Click the pop-up menu, then choose a saved project.

The autosaved project opens in a new project window.

Use templates

Use templates overview

There are two kinds of templates in Motion: composition templates

and Final Cut Pro templates. This section discusses composition

templates. For information on Final Cut Pro templates, see

Composition templates are premade, royalty-free projects that

you can customize. They’re intended to simplify the process of

Final Cut Pro templates overview

creating professional-looking titles and graphics, especially for

recurring projects such as television series. Using composition

templates, you can:

Create placeholder layers (called ) for easy

placement of custom video or graphics.

Customize placeholder text without overriding effects or

keyframes already applied to the template text.

Modify animation already applied to a template to suit your

own timing needs.

SEE ALSO

Open a template

Motion templates—shown in the Compositions category in the

Project Browser sidebar—are premade, royalty-free projects that

you can customize. Each template contains graphics, text objects,

and backgrounds.

You can also 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.

drop zones

Open a template

Template guidelines

Drop zones overview

Organize templates in the Project Browser

Create a project from a composition

template

You can open a composition template from the Project Browser.

1. Open Motion, or if it’s already open, Choose File > New (or

press Command-N).

2. In the Project Browser, select a category from the

Compositions section in the sidebar.

The compositions for that category appear in the middle of the

browser.

3. Click a composition to see its basic properties (resolution,

duration, and frame rate) and an animated preview on the

right.

4. To create a project from the selected composition, 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

compositions do not overwrite the source template files.

Create a composition template from scratch

You can also build a custom template from scratch. Custom

templates are standard Motion projects saved in a special way.

1. With a standard Motion project open, 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.

To create a custom category, choose New Category from the

Category pop-up menu, enter a descriptive name, then click

Create.

3. Choose New Theme from the Theme pop-up menu, enter a

descriptive name, 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 .

6. Click Publish.

The template is now available in the Project Browser, in the

Compositions category you chose in step 2.

Replace template media using drop

zones

Drop zones overview

Drop zones are placeholder graphics where template users can

drag images or video to customize the project. When you modify

one of the built-in composition templates that come with Motion,

or create a composition template from scratch, you can add drop

zone layers. A drop zone layer appears (in the Canvas and in the

Layers list) as a rectangle with a downward arrow in its center. In

the Canvas, the drop zone’s layer name appears in the center of

the graphic. Any media item (image or footage) dragged into the

region defined by the drop zone replaces the drop zone

placeholder graphic.

Final Cut Pro templates overview

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

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 .

SEE ALSO

Create 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.

Control and expose drop

zones

Final Cut Pro templates overview

Create drop zones

Modify drop zone images

Drop zone controls

Control and expose drop zones

Add an empty drop zone

1. Choose Object > New Drop Zone or press Shift-Command-D.

A drop zone layer is added to the project.

2. Position and scale the drop zone layer.

3. If needed, rename the drop zone layer in the Layers list.

4. Open the Inspector and click Image to modify the drop zone

parameters.

For more information about using these parameters, see

Resize a drop zone

1. In the Layers list or Canvas, select a drop zone.

2. In the toolbar, click the Select/Transform tool.

Drop

zone controls

3. In the Canvas, drag a transform handle to resize the drop

zone.

Tip: Press Shift while dragging to resize the drop zone

proportionally.

Convert an image layer to a drop zone

1. Add a video clip or still image to your project.

2. Position or resize the image or clip where you want the drop

zone to appear.

For information about positioning and scaling images, see

3. Open the Image Inspector and click the Drop Zone checkbox.

The drop zone parameters appear.

Transform layers in the Canvas overview

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

Modify drop zone images

After you add a source image to the drop zone, you can pan or

resize 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.

Add an image to a drop zone

Do one of the following:

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.

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.

Drag an image from the Media list to the Source Media well in

the Image Inspector.

Drop zone controls

In the Image Inspector, click To and select a media item in the

project from the pop-up menu.

Scale a drop zone image in the Canvas

1. Select the drop zone.

2. Do one of the following:

In the Canvas, double-click the drop zone.

The Adjust Item tool is automatically 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.

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.

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. Place the pointer over the drop zone image, and, when the

Pan tool appears, 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.

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

settings.

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 controls to choose a custom drop zone fill

color.

SEE ALSO

Drop zone controls

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 that the image placed in the drop

zone is handled as you want—scaling, stretching, and positioning

the object correctly.

The Image Inspector contains the following drop zone controls:

Drop Zone: A checkbox (available in the Image Inspector of

Transform layers in the Canvas overview

Transform layers in the Properties Inspector

any image layers in your project) that, when selected, converts

an image layer into a drop zone.

Source Media: An image well that appears after an image is

converted into a drop zone. Drag a media item to the well

from the Media list to change the current drop zone image.

To: A pop-up menu providing an alternative method of

assigning media 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: Value sliders to pan the media within the drop zone.

Adjust the X value slider to move the media horizontally and

the Y value slider to move the media vertically.

Scale: A slider to uniformly scale the media in the drop zone.

To resize the media horizontally or vertically, click the Scale

disclosure triangle and adjust the X or Y parameter.

Fill Opaque: A checkbox that, when selected, fills the drop

zone background with a color when the drop zone is scaled

down or panned. If the Fill Opaque checkbox is not selected,

the empty drop zone area remains transparent.

Fill Color: A color control to set a color when the Fill Opaque

checkbox is selected.

Use Display Aspect Ratio: A checkbox that, when selected,

resizes the drop zone according to selected Display Aspect

Ratio Snapshot (in the Snapshots pane of the Project

Inspector). For more information about display aspect ratios,

see .

Clear: A button to remove media from the drop zone,

replacing it with a downward-arrow graphic.

Add multiple display aspect ratios to a template

Control and expose drop zones

When constructing your template, you can disable drop zones so

you don’t accidentally apply media. Later, when using the

template, you can turn drop zones back on.

You can also 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.

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).

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.

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 non-image objects

(shapes, Motion projects, particles, and so on) to the Canvas.

3. Drop the object onto its target.

The object replaces its target, and the Canvas view returns to

normal.

Template guidelines

When you work with templates, consider the following guidelines:

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.

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 different display aspect ratios into a

single template. For example, when you create a template

with a 16:9 aspect ratio, you can add an alternate version

customized for 3:2 displays. For more information about

creating alternate display versions in a single template, see

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 .

Organize templates in the Project

Browser

Add multiple display aspect ratios to a template

Save, autosave, and revert projects

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.

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.

The new category appears in the column at the left under the

template type you selected.

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.

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, then select the template to

delete.

3. Press Delete.

An alert dialog prompts you to confirm the deletion.

4. Click the Delete button (–).

Modify project properties

Project properties overview

When you create a project, you specify a set of project properties

—Resolution, Frame Rate, Duration, and so on. You can change

most of 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.

Project background color, as well as how the background color is

rendered, is also modified in the Properties Inspector.

SEE ALSO

Edit project properties

The Project object in the Layers list must be selected for the

project’s Properties Inspector to be displayed. If another object is

selected, that object’s properties are displayed in the Properties

Inspector.

Edit project properties

Properties Inspector controls

About project frame size

Edit the properties of an existing project

1. Do one of the following:

Choose Edit > Project Properties (or press Command-J).

Select the Project object at the top of the Layers list, then

open the Inspector and click Properties (if that pane is not

showing already).

Control-click an empty area of the Canvas (in the gray area

outside the project) and choose Project Properties from the

shortcut menu.

The Properties Inspector opens.

2. In the Properties Inspector, change any necessary

parameters.

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.

Change the project background color

1. Do one of the following:

Choose Edit > Project Properties (or press Command-J).

Select the Project object at the top of the Layers list, then

open the Inspector and click Properties.

The Properties Inspector opens. Two parameters in a

project’s Properties Inspector affect the background color

of a project and affect how a composition appears when

exported out of Motion.

2. Set your project background 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.

For more information about transparency, see

About alpha

Properties Inspector controls

When the Project object is selected in the Layers list, the

Properties Inspector is divided into several control groups:

General, Motion Blur, Reflections, and Description.

channels

General controls

Use the controls in the General group to set or modify your

project’s basic attributes.

Preset: A 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

Width and Height: A 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: A 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: A 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: A 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

Create, edit, and delete project

presets

Important: Frame rates cannot be changed for existing

projects.

Duration: A value field to modify the project’s Timeline

duration. Use the adjacent pop-up menu to define the

duration units (Frames, Timecode, or Seconds).

Override FCP: A checkbox (available only in Final Cut

Transition projects) that, when selected, overrides the default

transition duration (as defined in the Editing pane of

Final Cut Pro Preferences). For more information, see

Start Timecode: A value field to set the starting timecode

displayed in the project.

Theme: A pop-up menu to assign a theme to the project.

Designed for 4K: A checkbox available only in Final Cut Effect,

Transition, Generator, or Title template projects. For more

information, see .

Background Color: A color control to set the background color

of the Canvas.

Background: A 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. Choose from these 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

Final Cut Pro templates overview

Set template resolution

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 controls

Below the General section of the Properties Inspector are two

groups of controls 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, creating more natural-looking motion in your project,

even though the animation is artificial. As with a camera, faster

objects have more blur; slower objects have less blur.

The Motion Blur section of the Properties Inspector has two

settings:

Samples: A slider to set the number of subframes rendered

per frame, where one 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: A 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.

The Reflections section of the Properties Inspector has one

parameter:

Maximum Bounces: A 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 .

Description field

Cast a reflection

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.

About project frame size

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.

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.

Add and manage content overview

After you create a project, you add media—video clips, still

images, special effects, and so on—to create a composition.

Motion provides two easy ways to add this content to your

project:

File Browser: Locate external video clips, still images, and

audio files on your computer or on networked storage devices,

then import this media into your Motion project. See

Library: Search for high-quality content that comes with

Motion (text styles, animated graphics, special effects, and so

on), then add this content to your Motion project. See

The File Browser and Library, located on the left side of the

Motion workspace, display all of your available content in

hierarchical, searchable lists. Here you can also preview selected

content before you add it to your Motion project.

Media files imported from your computer or networked devices

become source media. Source media can be scaled (resolution),

cropped, exchanged or replaced, duplicated, revealed in the

Finder, and so on. See .

Add and manage content

File

Browser overview

Library

overview

Source media overview

Import media files

File Browser overview

The easiest way to import external media files (video, audio, and

still images on your computer or a connected storage device) into

Motion is via the File Browser. When you open a Motion project,

the File Browser is displayed on the left side of the workspace.

The File Browser shows a hierarchal list of all files on your

computer and networked storage devices. Navigating the File

Browser is similar to navigating a window in the Finder.

The File Browser is divided into several areas:

Preview area: At the top of the File Browser, a thumbnail

image displays a video preview of any file selected in the

navigation areas of the browser, along with information about

the selected file, including filename, media type, file size, and

frame rate.

Navigation pane: Just below the Preview area is a list of

servers, storage devices, and folders available on your

computer. Navigation arrows and a pop-up menu let you step

forward or back through recently viewed folders and devices.

File stack: When you select a server, device, or folder from

the navigation pane, the contents of the selected item are

shown in the lower area of the File Browser.

View the File Browser

If the File Browser is not visible in the Motion workspace, you can

easily show it.

Do one of the following:

Click File Browser in the top-left corner of the Motion

workspace.

Choose Window > File Browser (or press Command-1).

Collapse or expand the pane containing the

File Browser, Library, and Inspector

Click the “i” button in the lower-left corner of the Motion

workspace.

If it’s your first import

By default, Motion places imported media files in your project at

the location of the playhead (the current frame in the Timeline).

You can change that setting to have imported media always

placed at the start of your project (frame 1).

Set the start point of imported media

1. Choose Motion > Preferences (or press Command-Comma).

2. In the Project pane, set “Create Layers At” to one of the

following:

Current frame: New media layers are added at the current

playhead position.

Start of project: New media layers are added at the first

frame of the project.

Import standard media files

You can import media files (video clips, audio clips, and still

images) into a Motion project one at a time or severally.

Note: Although you can import iTunes and photo files via the File

Browser, it’s better to add them via the iTunes and Photo

categories in the Motion Library. When you add iTunes and photo

files via the Library, you can browse for files using the playlist or

photo album features. For more information, see

Add iTunes and

photo files from the Library

Import media files into a Motion project

1. Navigate through the File Browser to locate media files to

import.

To open a folder in the File Browser, click a folder in the upper

navigation pane, then double-click a folder in the lower pane;

to return to a previously viewed folder, click the left arrow

button beneath the preview area, or choose a folder from the

pop-up menu beneath the preview area, or press Command–

Up Arrow.

2. Select one or more files to import.

In list view, Shift-click to select multiple contiguous files;

Command-click to select multiple noncontiguous files.

3. To stop preview playback, move the pointer over the preview

area and click the Pause button; to mute preview audio, click

the Play/Mute button to the right of preview thumbnail.

4. Do any of the following:

Drag the file or files from the file stack to a location in the

Canvas.

Click the Import button at the top of the File Browser to

add the file or files to the center of the Canvas.

Drag the file or files into the empty lower area of the Layers

list.

Drag the file or files into the empty lower area of the

Timeline.

The media files appear in the Canvas and in the Layers list (as

layers inside a new group at the top of the list).

Import media files into an existing group in

the Layers list

You can also import media clips and images into an existing group

in the Layers list.

1. Navigate through the File Browser and select one or more

media files.

2. To nest the media files in an existing group in the Layers list,

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 that group, placed

above existing layers in the group.

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 .

Import media files without using them in the

composition

You can also add media files to your project without having them

appear in the composition. You do this by dragging a file into the

Media list, thereby storing media objects you might want to use in

the future. When you import this way, the imported media does

not appear in the Canvas or in the Layers list. However, the media

remains available in the Media list.

1. In the Project pane, click Media to open the Media list.

2. Do one of the following:

Drag media files from the File Browser into the Media list.

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.

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.

Control-click in the Media list, choose Import Media from

the shortcut menu, then add a file via the Import Files

Timeline overview

dialog.

To import an image sequence in the Import Files dialog, select

the Image Sequence checkbox. If this checkbox is

deselected, only files selected in the Import dialog are

imported.

The resulting media objects are added to the Media list but don’t

appear in the Canvas, Layers list, or Timeline.

Import media files using the Import

command

You can also import media files without using the File Browser. To

do so, use the Import command.

1. Do any of the following:

Choose File > Import (or press Command-I).

Control-click an empty area of the Canvas (in the gray area

outside the project), then choose Import from the shortcut

menu.

The Import Files dialog appears.

2. Navigate to and select one or more media files, Shift-clicking

to select contiguous items or Command-clicking to select

noncontiguous items.

If you’re selecting items from an image sequence, select the

Image Sequence checkbox to have Motion use each image as

a frame in a movie clip.

3. Click Import.

The media files appear in the Canvas, and as layers inside new

groups at the top of the Layers list.

Note: When you import multiple files using the Import command,

each media file is placed in a separate new group in your Motion

project. However, when you import multiple files via the File

Browser, the files are placed in a single new group in your Motion

project.

Import media files and create a new Motion

project at the same time

You can also create a new project for files at the time of import.

To do so, use the Import as Project command.

1. Choose File > Import as Project or press Shift-Command-I.

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.

3. If needed, set the frame rate, aspect ratio, field order, and

audio mix settings.

If you’re selecting items from an image sequence, select the

Image Sequence checkbox to have Motion use each image as

a frame in a movie clip.

4. Click Import as Project.

The media files appear in a new Motion project.

Import 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

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.

The following Photoshop effects are not imported into Motion:

Layer effects

Layer masks

Adjustment layers

Paths

Shapes

Import 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 the pointer becomes curved.

This menu presents commands for importing the layered file.

3. Continuing to hold down the mouse button, choose a

command from the drop menu, then release the mouse

button:

Import Merged Layers: All layers of the Photoshop file are

collapsed into a single Motion layer.

Import All Layers: A group is created, and each layer of the

Photoshop file is preserved as a separate Motion layer in

this new 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.

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.

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 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.

Import image sequences

Sometimes, animated sequences are delivered as a series of

sequentially numbered still images. Motion lets you import these

sequences as a single object, with each image used as a

sequential frame in a movie.

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.

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. To

import a single still image from a digital camera, deselect the

“Show image sequences as collapsed button.”

For more information, see .

Sort and search in the File Browser

You can display and sort files in the File Browser in any of several

ways. In the File Browser, you can also search for files located on

your computer or on connected storage devices.

View the File Browser in list view

Click the List View button in the lower-right corner of the File

Browser.

About image sequences

View the File Browser in icon view

Click the Icon View button in the lower-right corner of the File

Browser.

Change the size of the icons while in icon

view

Do one of the following:

Click the 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.

Sort the File Browser list

When the File Browser is in list view, you can sort the list by any

column. This can be helpful if you are looking for a specific file

and know the approximate size or modification date.

At the top of the file 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.

Search for a file

Click the Search button at the bottom of the File Browser, 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.

Clear a file search

Click the Clear button at the right side of the Search field.

Manage folders and files in the File

Browser

In the File Browser, you can rename, move, or delete files. You

can also change how files are displayed.

WARNING: Renaming, moving, or deleting folders or files via the

File Browser affects those items on your computer or networked

storage device. This can cause other Motion projects to list the

affected media as missing. To relocate missing media, see

Rename a folder or file

Do one of the following:

Control-click the file or folder, and choose Rename from the

shortcut menu; then, when the text field becomes active, enter

the new name, and press Return.

In the file 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, and press Return.

Delete a folder or file

Do one of the following:

In the file stack, Control-click the file, then choose Move to

Reconnect offline media files

Trash from the shortcut menu.

Drag the file from the file stack to the Trash icon in the OS X

Dock.

Create a folder

Click the Add button (+) in the lower-left corner of the File

Browser.

A new folder with the name “untitled folder” is added to your

computer or networked storage device (in the location selected in

the file stack of the File Browser).

Move a file into a folder

In the file stack, drag the file onto a folder icon.

The file is moved inside that folder.

Note: Changes you make to your file structure in the Motion

File Browser are reflected in the Finder.

Display the location of a file in the Finder

Control-click a file in the file stack, then choose Reveal in

Finder from the shortcut menu.

Preview a media file in a separate window

Do any of the following:

Open a file in a viewer window: Control-click a file in the file

stack, then choose Open in Viewer from the shortcut menu.

Open a file in QuickTime Player: Control-click a file in the file

stack, then choose Open in QuickTime Player from the

shortcut menu.

About media file types

Supported media formats

You can import the following video, still image, and audio formats:

QuickTime video codecs

Animation

DV - PAL

DV/DVCPRO - NTSC

DVCPRO - PAL

DVCPRO HD 1080i50, 1080i60, 1080p25, 1080p30, and

720p50, 720p60

DVCPRO50 - NTSC

DVCPRO50 - PAL

Uncompressed 8- and 10-bit 4:2:2

HDV 1080i50, 1080i60, 1080p24, 1080p25, and 720p24,

720p25, 720p30

Motion JPEG

MPEG IMX 525/60 (30Mb/s, 40 Mb/s, 50 Mb/s)

MPEG IMX 625/50 (30Mb/s, 40 Mb/s, 50 Mb/s)

Photo - JPEG

Apple ProRes 4444 XQ

Apple ProRes 4444

Apple ProRes 422 HQ

Apple ProRes 422

Apple ProRes 422 LT

Apple ProRes 422 Proxy

XDCAM HD 1080i50, 1080i60, 1080p24, 1080p25, 1080p30

(35 Mb/s VBR)

H.263

H.264

Other codecs

MXF

Still image formats

Photoshop

BMP

GIF

JPEG

PNG

TIFF

TGA

OpenEXR

Other image formats

Layered Photoshop files

PDF files

Audio formats

You can import audio files with sample rates up to 192 kHz and

with bit depths up to 32 bits. Mono and stereo files are supported.

Multichannel audio files are also supported. Motion supports the

following audio file types:

AAC (listed in the Finder with the .m4p file extension)

AIFF

CAF

WAV

Important: You cannot import rights-managed AAC files, such as

non-iTunes Plus tracks purchased from the iTunes Store.

For more information about the file formats supported by Motion,

go to the Motion website at

About 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 XQ, 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

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 the alpha channel in your project.

You can combine clips that are compressed with different codecs

in the same project. You can also combine clips that have

http://www.apple.com/finalcutpro/motion

different frame sizes, pixel aspect ratios, and interlacing.

About high-resolution still image files

You can import still image files using most popular still image

formats, including SGI, Photoshop, BMP, JPEG, TIFF, TGA, and

JPEG-2. As with video clips, you can mix still image files with

differing frame sizes and pixel aspect ratios. For a full list of

eligible file types, see .

A common and effective use of still images in motion graphics

work is the animation of high-resolution files. The dots per inch

(DPI) qualification as defined in programs like Photoshop does not

apply to video. 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 the image’s 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 .

For guidelines about working with high-resolution graphics, see

Supported media formats

http://www.apple.com/finalcutpro/motion

About high-resolution graphics

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

Set the import size of large still images

You can set an option in the Preferences window to import large

still images at their original size or scaled to fit the Canvas size.

1. Choose Motion > Preferences (or press Command-Comma).

2. In the Still Images & Layers area of the Project pane, click the

Large Stills pop-up menu and choose a setting.

Timeline overview

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 Preferences. The image is larger than

the Canvas.

Scale to Canvas Size: Imports and scales the image to fit

the project size while maintaining the image’s native aspect

ratio.

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 confirm that the image is merely transformed and has not

changed resolution, you can 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.

About 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 image sequence formats 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.

Important: Any imported image sequence must contain three or

more digits of padding—for example, “imagename.0001.tif.”

Collapse image sequences

The “Show image sequences as collapsed” button at the bottom

of the File Browser lets you display image sequences as a single

object, rather than as the collection of files on your disk.

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.

About 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.

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 problem, 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: A 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: A checkbox that, when selected, fixes the

resolution of PDF source media to the size specified in the

Fixed Width and Fixed Height sliders.

Fixed Width: A slider to set the maximum horizontal resolution

to which a PDF object can be smoothly scaled.

Fixed Height: A slider to set the maximum vertical resolution to

which a PDF object can be smoothly scaled.

Use Background Color: A checkbox that, when selected,

substitutes a custom background color for transparent

portions of the PDF. Choose the background color in

Background Color controls (described below).

Background Color: Color controls (available when Use

Background Color is selected) to set the background color for

transparent portions of the PDF.

Crop: 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.

Multipage 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.

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 of these methods 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 a 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.

About 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 like 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.

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 Motion supports, see

. For more information on using audio in

Motion, see .

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 .

Note: You cannot import rights-managed AAC files, such as non-

iTunes Plus tracks purchased from the iTunes Store.

About text files

Motion can read and work with a variety of text files, both as

media elements and as text data to incorporate in generators,

Supported media formats

Audio overview

Add iTunes and photo files from the Library

particle systems, and replicator effects. For more information, see

Add Library content

Library overview

Motion ships with a collection of built-in art content and effects

(text styles and fonts, animated graphics, filter effects, and so on)

that you can use in your projects. This content is available in the

Library, which is displayed on the left side of the Motion

workspace (next to the File Browser). Navigating the Library is

similar to navigating the File Browser.

The Library is divided into several areas:

Preview area: At the top of the Library, a thumbnail image

displays a video preview of content selected in navigation

areas of the Library (special effects, text styles, graphical art,

and so on).

Navigation pane: Just below the preview area is a two-column

pane displaying the categories and subcategories of content

and effects available in Motion. Navigation arrows let you step

forward and back through recently viewed categories of

content. A pop-up menu lets you filter content by theme

(Abstract, Sci-Fi, Urban, and so on).

Library stack: When you select a category and subcategory in

the navigation pane, the contents of the subcategory are

shown in the lower area of the Library.

Add text

View the Library

If the Library is not visible in the Motion workspace, you can easily

show it.

Click Library in the top-left corner of the Motion workspace.

Choose Window > Library (or press Command-2).

Collapse or expand the pane containing the

File Browser, Library, and Inspector

Click the “i” button in the lower-left corner of the Motion

workspace.

Categories of Library content

The Library contains the following categories of content that you

can add to your project:

Behaviors: Sophisticated animation and simulation effects

(Spin, Grow, Gravity, and so on) that you can apply to objects

and images in your project. 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, see .

Filters: Special effects used to modify the appearance of

images, objects, and video clips in your project. You can

apply filters to create artistic effects (blurs, glows, stylized

looks), to perform image corrections (color balancing,

sharpening), or to create complex compositing effects (green

screen keying). Third-party FxPlug filters appear in the

category to which they belong. Most filters can be applied to

any layer (text, images, shapes, video footage, particles, and

so on) in your project. For more information, see

Generators: Computer-generated art such as checkerboards,

noise patterns, color rays, and animated text objects that you

can add to your projects. For more information, see

Particle Emitters: Animated swarms of small particles that let

you add effects ranging from simulations of smoke, fire, and

explosives to animated abstract textures. All premade particle

systems can be customized after you add them to your

project. For more information, see .

Replicators: Patterns of repeating elements used to create

kaleidoscopic effects (static or animated) in your

compositions. All premade replicators can be customized

after you add them to your project. For more information, see

Shapes: Premade geometrical forms that you can use as

visual elements or as image masks in your project. Each

Apply behaviors overview

Filters

overview

Generators overview

Particles overview

Replicator overview

shape is a Bezier shape and can be customized using

Motion’s shape-editing tools. For more information, see

Gradients: A selection of premade color spreads that can be

applied to shapes, text, particles, and replicators in your

project. For more information, see .

Fonts: A browser containing all the fonts available on your

computer, organized into subcategories based on the

categories defined in the Font Book application. Simply select

a font, then apply it to text in your project. For more

information about Font Book, see Mac Help (in the Finder,

choose Help > Mac Help). For more information about using

fonts in Motion, see .

Text Styles: Thematic type styles (Antique, Fantasy, Grunge,

and so on) that let you modify the look of 2D text and 3D text

in your project. For more information, see

Shape Styles: Preset shape styles that add artistic line strokes

(Abstract, Flora, and Liquid, for example) to shapes in your

project. For example, dragging a shape style onto a shape

instantly applies that style. For more information, see

Materials: Preset 3D text materials that give 3D text a natural

and realistic appearance, as they respond to lighting, exhibit

reflectiveness, and so on. All premade materials can be

customized after you add them to your project. See

iTunes: A browser for locating and importing files from your

iTunes library. The subcategories include the library and

Shapes, masks, and paint strokes overview

Gradient editor controls

Preview and apply fonts

Use preset text

styles

Shapes,

masks, and paint strokes overview

Materials

overview

playlists created in iTunes. The contents of each playlist

appear in the Library stack. See

Photos: A browser for locating and importing image files from

your selected photo library. The contents of each photo album

or photo library appear in the Library stack. The photo

application that is available in the Photos category of the

Motion Library is set in the General pane of Motion

Preferences. See .

Content: Graphical elements used in the templates and

presets that ship with Motion. Use these images, text

elements, patterns, and animations to create custom design

elements, such as particles and replicators, which can be

saved to the Library for later use.

Favorites: A place to save objects—built-in or custom-made in

Motion—for future use, including cameras, layers, or groups.

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.

Favorites Menu: 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 and is positioned at the

center of the Canvas. Objects you put in the Favorites Menu

are available to every project in Motion.

Add Library content to a project

Add iTunes and photo files

from the Library

Add iTunes and photo files from the Library

You can add Library content (special effects and premade

graphical elements) to a project in several different ways.

Add Library content to a project

1. Navigate through the Library, selecting a category and

subcategory in the navigation pane and an item in the Library

stack.

For example, select the Filters category, select a filter

subcategory, then select a filter in the Library stack.

A preview of the selected Library item appears in the preview

area.

2. Do either of the following:

Click the Apply button to the right of the preview area.

Drag the item from the Library stack to a location in the

Canvas, or into the empty lower area of the Layers list or

Timeline.

The item is placed inside a new group at the top of the Layers

list and Timeline, and the content appears in the Canvas or

under the selected layer in your project.

Note: Some categories of Library content are designed to

modify specific types of layers. For example, items in the Text

Styles category of the Library can only be applied to text

layers in your project. If nothing happens when you try to add

a Library item, make sure you’ve applied it to a suitable group

or layer.

Add Library content to a specific group or

layer in a project

1. Navigate through the Library, selecting a category and

subcategory in the navigation pane and an item in the Library

stack.

For example, click the Filters category, click a filter

subcategory, then click a filter in the Library stack.

A preview of the selected Library item appears in the preview

area.

2. Do either of the following:

Select a specific group or layer in the Layers list or

Timeline, then click Apply in the preview area.

Drag the item from the Library stack to a specific group or

layer in the Layers list or Timeline.

The item is placed in the group or applied to the layer.

Note: Some categories of Library content are designed to

modify specific types of layers. For example, items in the Text

Styles category of the Library can only be applied to text

layers in your project. If nothing happens when you try to add

a Library item, make sure you’ve applied it to a suitable group

or layer.

There’s an additional way to add generators, behaviors, and filters

—using the pop-up menus in the toolbar. For more information,

see , , and

Add iTunes and photo files from the

Library

You can add files from your iTunes library and photo application

libraries to a project via the Motion Library. The iTunes and photo

content appear in two Library categories, iTunes and Photos.

(However, you cannot import rights-protected video content from

iTunes into a Motion project.)

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.

Add a file from iTunes

1. In the Library, select the iTunes category.

The iTunes library content appears in the adjacent navigation

pane. By default, All is selected (the iTunes library).

2. Select a subcategory, such as Music or Podcasts, then select

a file from the stack.

Add a generator Apply and remove filters Add, remove,

and disable standard behaviors

3. Do one of the following:

Click the Apply button to the right of the preview area.

Drag the file to the Canvas, Layers list, Timeline, or Audio

Timeline (if the file is an audio track or is a video that

contains audio).

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

Add a file from a photo application

1. In the Library, select the Photos category.

The albums (or libraries) appear in the adjacent navigation

pane. By default, All is selected.

Note: The photo application that is available in the Photos

category of the Motion Library is set in the General pane of

Motion Preferences. Only one application may be selected at

a time. For more information, see .

2. Select an album, then select a file from the stack.

3. Do one of the following:

Click the Apply button to the right of the preview area.

Drag the file to the Canvas, Layers list, or Timeline.

Audio

overview

General preferences

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

Sort and search in the Library

You can display and sort content in the Library in any of several

ways. You can also search for library content.

View the Library in list view

Click the List View button in the lower-right corner of the

Library.

View the Library in icon view

Click the Icon View button in the lower-right corner of the

Library.

Set the import size of

large still images

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.

Sort using the Theme pop-up menu

The Theme pop-up menu under the preview area lets you sort

Library content by thematic categories such as Abstract, Nature,

Sci-Fi, and so on.

Do one of the following:

Select a category in the Library sidebar or stack, then click the

Theme pop-up menu and choose a choose a theme.

To sort using the default themes, select the Content category,

then click the Theme pop-up menu choose an item.

Search for Library content

Click the Search button at the bottom of the Library, then

enter text in the Search field.

Note: The Search field is not available unless the Search

button is selected.

Clear a file search

Click the Clear button at the right side of the Search field.

Manage Library folders and files

Although you can’t modify the effects, elements, and folders built

into Motion, you can organize custom effects, elements, and

folders in the Library 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.

Create a new folder in the Library

You can create new folders in the subcategory column (the

second column) or in the stack (the area under the category and

subcategory columns) to better organize your custom Library

content.

Do any of the following:

Create a new folder in the subcategory column: Select a

category, select the All folder in the subcategory column, then

click the New Folder button (+) in the lower-left corner of the

Library.

A new, untitled folder appears in the subcategory column.

Create a new folder in the stack: Select a category, select the

subcategory to contain the new folder, then click the New

Folder button (+) in the lower-left corner of the Library.

A new, untitled folder appears in the stack.

For more information on saving custom Library content, see

Rename a custom folder or file

Do one of the following:

Rename a subcategory folder: In the subcategory column,

click the name of a custom folder once to select it, click it

Save

custom objects to the Library

again to activate the text field, enter a new name, then press

Return.

Rename a file or folder in the stack: In the stack, Control-click

a custom file or folder, choose Rename from the shortcut

menu, enter a new name, then press Return.

WARNING: Renaming a custom folder or file in the Library

renames the item on your computer or networked storage device.

If projects use files from the originally named folder, Motion may

list the item as missing.

Remove custom objects or folders from the

Library

Select a custom folder in the subcategory column or stack (or

a custom object in the stack), then do one of the following:

Choose Edit > Delete.

Press Command-Delete.

WARNING: Deleting a custom folder or file in the stack removes

that item from your computer or networked storage device and

places the item in your Trash.

Delete a folder or file

In the Library stack, Control-click the custom file, then choose

Move to Trash from the shortcut menu.

Move a file into a folder

In the Library stack, drag the file onto the folder icon.

The file is moved inside that folder.

When Library media becomes

unavailable

As with any other object used in a Motion project, Library media

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.

You can close the project and install the necessary files on your

computer, or you can 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 .

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.

Reconnect offline media files

Missing international fonts substitute the default system font

for the relevant language.

Work with Library themes

Library themes help you organize projects that may share objects

by allowing you to label specific objects with a default theme,

such as Abstract, Nature, or Sci-Fi, or to assign objects to a

custom theme. By default, some preset Library objects are

assigned to a theme. For example, the Hypnotic particle emitter

preset is in the Sci-Fi category.

Note: Library themes are different from the themes in the

Themes pop-up menu of the Project Browser. Project Browser

themes are applied to entire Motion projects and shared between

Motion and Final Cut Pro X when creating templates. For more

information on creating templates for Final Cut Pro, see

Sort using the Theme pop-up menu

Select a category or subcategory in the Library sidebar, then

choose a theme from the Theme pop-up menu.

Items belonging to the chosen theme appear in the stack.

Create a new custom theme

Final Cut Pro templates overview

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.

Assign a theme to custom content

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 a

theme. For more information, see

Items that can be assigned a theme include the following:

Replicators

Emitters

Shapes

Gradients

Text styles

Shape styles

Save custom objects to the

Library

Shape styles

Layers or groups

Note: You cannot assign a theme to behaviors, filters, fonts,

images, image sequences, or movies.

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.

Save custom objects to the Library

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 the 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.

Save a custom object to the Library

1. Open the Library and select the Favorites or Favorites Menu

category, or another category.

Note: To save a custom object to a category other than the

Favorites or Favorites Menu category, the object type must

match the category. For example, you can save custom filters

to the Filters category, but not to the Behaviors category or

Generators category.

2. Drag a customized object from the Layers list, Timeline, or

Inspector into the stack at the bottom of the Library.

The item is saved to the Library in the category you selected,

and appears with a custom icon.

When you save a customized item, it’s placed in the

/Users/username/Library/Application Support/Motion/Library/

folder.

Save multiple custom objects to the Library

1. Open the Library and select the Favorites or Favorites Menu

category, or another category.

Note: To save a custom object to a category other than the

Favorites or Favorites Menu category, the object type must

match the category. For example, you can save custom filters

to the Filters category, but not to the Behaviors category or

Generators category.

2. In the Layers list, select all objects 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 objects together, as one item in the

Library. “Multiple files” saves the as individual objects in the

Library.

Note: When saving objects of different types, it’s best to save

them to the Favorites or Favorites menu category (or a folder

you specifically create) for organizational purposes. If multiple

objects of different types are saved, such as a shape with an

applied behavior and text, the objects are added to the

Content folder as “Untitled.”

Create a custom note for a saved Library

object

Control-click the icon in the Library stack, choose Edit

Description from the shortcut menu, enter notes in the dialog

that appears, then click OK.

For information about renaming and organizing custom Library

content, .

Manage source media

Source media overview

When you import an external media file into a Motion project, two

things occur:

An instance of that media (an image or video clip) is placed in

your project, and is visible in the Layers list, Canvas, and

Timeline.

A link to the external source media file on your computer or

other connected device is shown as an item in the Media list

in the Project pane.

Manage Library folders and files

Media used in Motion must remain connected to the source media

files on your computer or networked device. If you move, delete,

or rename external media files that correspond to media used in a

Motion project, the source media link (in the Media list) and any

layers in your project using that source media go “offline.” It’s

easy to reconnect offline media in your project (as long as the

external files are still available on your computer or networked

device). For more information, see .

Because Motion is a nondestructive effects application, changes

you make to media layers in your project are not applied to the

external media on your computer or connected device. Rather,

any changes you make to a media layer are applied to the

instance of the media in Motion.

You can view information about source media in two places in the

Motion workspace:

Media list: The second list in the project pane, itemizes all

source media files (audio, image, image sequence, and

QuickTime movie files) in your project. The items in this list are

links to source media files that remain on your computer or

networked device. 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.

Columns in the Media list display information about each

source file, including format, duration, frame rate, and so on.

For more information, see .

Media Inspector: Available when you select a media item the

Media list, displays information about the selected source

media file (format, duration, frame rate, and so on). The Media

Inspector also contains adjustable media controls for

Reconnect offline media files

Media list overview

modifying instances of the source media file used in your

project. For more information, see

View source media information

Media list overview

The Media list (the second list in the Project pane) itemizes all

media files (audio, image, image sequence, and QuickTime movie

files) in the project. Items in this list are links to source media files

that remain on your computer or networked storage device.

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.

The columns in the Media list contain information about each

media item, in the following categories:

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—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

Display the Media

Inspector

Format: For QuickTime movies, displays the codec used. For

still images, displays the method of compression that is

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.

Aud Rate: For audio files and QuickTime movies, displays the

sample rate of the audio.

Aud 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 for file

management.

SEE ALSO

Display, sort, and search the Media list

Customize your view of the Media list to see the information most

important to you.

Display, sort, and search the Media list

Source media controls in the Media Inspector

Display the Media list

Do one of the following:

If the Project pane is visible, click Media at the top of the

pane.

Choose Window > Media (or press Command-5).

The Media list opens.

Display and adjust columns in the Media list

Do any of the following:

To display all visible columns in the Media list, drag the scroller

at the bottom of the Media list.

To show or hide a column, Control-click a column header,

then choose the item to show or hide from the shortcut menu.

Items in the list with a checkmark are displayed in the Media

list. Items with no checkmark are hidden.

To reorder the columns, drag a column header left or right to a

new position.

To adjust column width, drag a column border to resize the

width in the header row.

To adjust row height, do one of the following:

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.

Click the Scale button at the bottom of the Media list, then

drag the slider left to decrease row height or right to

increase row height.

Sort Media list items in a column by file type

Click the column header.

The layers are sorted in the column and a small arrow in the

column header indicates the direction of the sort. To reverse the

direction of the sort, click the column header.

Search for specific items in the Media list

Click the Search button at the bottom of the Media list, then

enter the name of items to view in the Search field.

As you type in the Search field, the Media list is filtered to

show items containing the text you type.

To stop filtering and return to the complete list, click the Clear

button at the right of the Search field.

Reveal source media

Occasionally, you may need to find source media used in your

project, to access additional information about an imported media

file, or to locate the external file on your computer or networked

storage device.

Show a layer’s source media link in the

Media list

Do one of the following:

Control-click a layer in the Canvas, Layers list, or Timeline,

then choose Reveal Source Media from the shortcut menu.

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 information about the source

media.

Find external source media used in your

project

Open the Media list, Control-click a media item, then choose

Reveal in Finder from the shortcut menu.

A Finder window appears, and the external source media file used

in your project is highlighted.

Adjust source media parameters

Display the Media Inspector

The Media Inspector displays adjustable parameters that define

how an image or movie clip is displayed and composited in the

project. 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.

Open the Media Inspector

Open the Media list (the second list in the Project pane), select

a media item, open the Inspector, then click the Media tab.

The Media Inspector shows adjustable parameters for and

information about the selected item in the Media list. For

information about adjusting source media parameters, see

Source media controls in the Media Inspector

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.

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. And PDF files with

transparent backgrounds do not have the Alpha Type or Invert

Alpha parameters.

Alpha Type: A pop-up menu to set how Motion deals with

alpha channels in the media item. An alpha channel contains

information about areas of transparency in the image or

movie. When you import an image file or QuickTime movie that

has an alpha channel, its alpha channel is immediately

recognized by Motion. There are 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’s imported, but you can

override the default if necessary, by choosing any of the

following:

None/Ignore: 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: A checkbox that, when selected, inverts 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: A 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.

Field Order: A 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 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, see .

Frame Rate: A 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: 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. For more information, see

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 .

Crop: Four sliders, visible when you click the disclosure

triangle, that define the number of pixels to be cropped from

Field order

Set the import size of large still

images

About PDF files

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

Timing: Three 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.

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: A list of 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: A button to relink media in your project to

Properties Inspector

controls

Replace Media File: A 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).

Metadata: An information pane displaying properties of the

external media file on your computer or networked device

that’s linked to the item selected in the Media list.

About duplicating and deleting media

files

When you delete a layer in the Layer’s list, by default Motion

deletes the corresponding media item in the Media list (but does

not delete the source media on your computer or connected

storage device). If you want to delete a layer, but retain its source

media item in the Media list for future use, open Motion

Preferences and, in the General pane, deselect the “Automatically

manage unused media” checkbox. For more information, see

When you duplicate a layer in the Layers list, a new instance of

the source media is created in the Layers list—however, no new

source item is created in the Media list. In a project with

duplicated layers, you can adjust the attributes of all duplicates

simultaneously by adjusting the source media’s parameters in the

Media Inspector (see ).

If you’ve duplicated layers and want to delete them all at the

same time, delete the corresponding media item in the Media list.

General preferences

Display the Media Inspector

Exchange 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 with a new

source media link. When you exchange a layer’s source media,

the layer retains its Property Inspector parameter values (including

Position, Scale, and Opacity, and Blend Mode), as well as applied

filters, behaviors, masks, or keyframes.

The exchange operation lets you 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

source media files on your computer or networked device. You

cannot exchange Motion-generated objects such as particle

systems, generators, shapes, or text objects.

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.

source media link

The layer’s original source media is replaced by the new source

media.

Exchange source media via the Media

Inspector

1. In the Media list, select the object to replace.

2. Open the Media Inspector or HUD (heads-up display).

Note: For information about opening the Media Inspector, see

. To open the HUD, press F7.

3. Click Replace Media File.

4. In the dialog that appears, navigate to the file that will replace

the current source media.

5. Click Open.

Display the Media Inspector

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.

Reconnect offline media

Reconnect offline media files

Adding a media file to a Motion project creates a link between the

resulting image layer in Motion and its corresponding source

media file on your computer or connected storage device. If you

move, delete, or rename media files on your computer or

connected device, 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.

In the Media list, a question mark icon replaces the missing

preview thumbnail.

When you open a project file with offline media, a dialog appears

listing all files that can’t be found. If the media files were 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 files, you

can display a manual reconnection dialog and navigate to the files

without searching. If the file was renamed, you must locate it

manually.

Manually reconnect an offline media 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.

Search for and reconnect offline media files

If you can’t find the file manually, use the offline media Search

feature.

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.

Cancel an active search for offline media

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.

Reconnect offline media via the Media

Inspector

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.

1. Open the Media list.

2. Select the offline layer to reconnect.

3. Open the Media Inspector, then click the Reconnect Media

File button under the Linked Objects list.

Motion attempts to find the first missing file in the list. If the

search is successful, a file browser dialog appears with the

missing media file selected. If the search is unsuccessful, you

must navigate manually to file’s location, then select the file.

4. 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.

About networked devices 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

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 device. As a result, when that

remote device 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 device

that’s physically connected to your computer. If you must use

media from a networked storage device, ensure that the device 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, DVDs, and removable hard disks that are frequently

disconnected from your computer. Always copy media files from

such media to your local computer.

Project playback overview

After you create a project, Motion provides easy ways to control

and optimize playback. You can:

a project using simple transport controls

For information about graphics cards and performance, see

View and play back a project

View and play back a project overview

The easiest way to play a project and see your animated

sequence in real time is to under the

Canvas. In addition to starting and stopping your project’s

playback, you can use the transport controls to jump to the

beginning or end of your project, advance your project frame by

frame, and so on.

To customize playback, you can also:

by manually rendering a

Play back projects

Play back

Adjust project timing

Define a play range

About

project playback performance

use the transport controls

Optimize playback performance

by manually rendering a

portion or your entire project to random access memory

(RAM)

Play your project in

View the Canvas (or Timing pane) on a

Play back a project

After you add content to your project, use the transport controls

at the bottom of the Canvas to play your sequence back in real

time, to jump to the beginning or end of your project, to advance

your project frame by frame, and more.

Note: Most of the transport controls have a keyboard shortcut.

The transport controls contain the following buttons:

Go to start of project: Returns the playhead to the beginning of

the project. (Keyboard shortcut: Home)

Go to end of project: Moves the playhead to the end of the

project. (Keyboard shortcut: End)

Play from start (of a play range): Plays from the In point to the

Optimize playback performance

full-screen player mode

second display

Play from start (of a play range): Plays from the In point to the

Out point of the play range. To learn how to set a play range,

see .

Play/Pause: Starts and stops playback. (Keyboard shortcut:

Space bar)

Record: Turns on and turns off animation recording. When

recording is turned on, the values for animatable parameters

appear red in the Inspector, indicating that any change you

make to a parameter (such as moving an object in the Canvas

or adjusting a slider) creates a keyframe. (Keyboard shortcut:

Go to previous frame: Moves the playhead backward by one

frame. (Keyboard shortcut: Left Arrow or Page Up)

Go to next frame: Advances the playhead by one frame.

(Keyboard shortcut: Right Arrow or Page Down)

There are two buttons to the right of the transport controls that

also affect playback:

Player Mode: Hides or shows the File Browser, Library,

Inspector, Project pane, and Timing pane to maximize Canvas

space. For more information, see

Loop playback: Controls whether playback loops indefinitely,

or whether playback stops when the end of the play range is

reached. For more information, see .

(Keyboard shortcut: Shift-L)

Define the play range

Expand the Canvas to full-

screen player mode

Define the play range

And to the left of the playback controls is another button that also

can affect playback:

Play/Mute audio: Turns audio playback on or off. Turning audio

off can improve playback performance.

Optimize playback using RAM Preview

Each time you play a project in the Canvas, Motion performs

complex rendering calculations to represent the objects and

effects that appear in each frame. The project plays back as

quickly as possible up to the frame rate specified in the Properties

Inspector. However, with a very complex project, playback quality

can be hampered by the limitations of your computer hardware.

To improve real-time playback, you can manually render parts of

your project and store the frames in your computer’s random

access memory using RAM Preview. With RAM Preview, you can

render the play range, a selection, or the entire project.

RAM Preview your entire project

Choose Mark > RAM Preview > All.

The RAM Preview dialog appears, displaying a progress bar

that shows which frame is being rendered, how many more

frames remain, and an approximation of the time remaining.

When RAM Preview is completed, the dialog closes.

Note: Because some sections of a project may be more

complex than others, the “Time remaining” value may be

somewhat inaccurate.

Interrupt the RAM Preview

Click the Stop button in the RAM Preview dialog.

The section that has been rendered is stored in RAM. 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.

Clear RAM Preview

You can manually delete RAM Preview to make room for a new

RAM Preview or to free up RAM for other operations.

Choose Mark > RAM Preview > Clear RAM Preview.

RAM Preview the play range

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.

1. Set a play range in your project.

For more information, see .

2. Choose Mark > RAM Preview > Play Range.

The RAM Preview dialog appears and displays a progress bar.

Define the play range

When RAM Preview is completed, the dialog closes.

RAM Preview a selection

1. Holding down the Command and Option keys, drag In the

Timeline to select a region to preview.

A highlight appears over the selected frames.

For more information on regions, see

2. Choose Mark > RAM Preview > Selection.

The RAM Preview dialog appears. When RAM Preview is

completed, the dialog closes.

Expand the Canvas to full-screen player

mode

Make changes to a

region (range of frames)

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.

Switch to full-screen player mode

Do one of the following:

Choose Window > Player Mode.

Click the Player Mode button above the toolbar.

Press F8.

Return to normal view

Do one of the following:

Choose Window > Player Mode again.

Click the Player Mode button again.

Press F8 again.

View 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.

Note: You can also drag Motion project windows to the second

display, allowing you to view more than one project at a time

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.

Show the Canvas in the main window

Do one of the following:

Choose Window > Show Canvas in the Main Window.

Choose Window > Revert to Original Layout.

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) appears 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: Click 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.

Show the Timing pane in the main window

Do one of the following:

Choose Window > Show Timing Pane in the Main Window.

Choose Window > Revert to Original Layout.

View and adjust project timing

Timing display overview

The timing display, located in the center of the toolbar, lets you

view the current frame (or timecode number) of the playhead, or

the total duration of the project. In the timing display, you can also

modify the duration of the project, navigate to a specific frame,

move forward or backward in small or large increments, and

scrub frames.

For details, see:

View project timing information

You can set the timing display to show either the current playhead

position or the total project duration. You can also set the timing

display show this information in different units—frames or

timecode.

Switch between display of playhead position

and project duration

Do one of the following:

Click the clock icon on the left side of the timing display.

View or change timing information

Navigate a project

Change the duration of a project

When set to project duration, the clock icon looks like this:

When set to playhead position (known as current time), the

clock icon looks like this:

Click the downward arrow on the right side of the timing

display, then choose Show Project Duration or Show Current

Time.

When set to show project duration, the timing display shows the

running time or number of frames in your project (depending on

the unit of measure you choose to display). When set to show the

current time, the timing display shows the frame number or

timecode number of the current playhead position (depending on

the unit of measure you choose to display).

Switch between display of frame numbers

and timecode

The timing display offers two ways of measuring time in your

project: frames or timecode. Frames are incremental still images

starting at 1 or 0 and continuing for the duration of your project.

Timecode is the standard eight-digit numeric system used in video

production. Timecode 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.

Click the downward arrow on the right side of the timing

display, then choose Show Frames or Show Timecode from

the pop-up menu.

Frames and timecode counters have specific advantages,

depending on the video format in which you’re originating and

finishing. For example, if you’re designing a title sequence for a

35mm film that must be exactly 720 frames, set the timing display

to show frames. If you’re building a television spot for broadcast

(which uses the timecode standard), set the timing display to

show timecode.

Navigate a project using the timing

display

You can also use the timing display to move the Timeline

playhead.

Move the playhead to a specific frame or

time

Do one of the following:

With the timing display pop-up menu set to Show Frames and

Show Current Time, double-click the number display, type the

desired frame number, then press Return.

With the timing display pop-up menu set to Show Timecode

and Show Current Time, double-click the number display, type

the desired timecode (in HH:MM:SS:FF format), then press

Return.

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 the

playhead backward or the Right Arrow key (or Page Down

key) to move the playhead forward.

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, enter a period,

then press Return. For example, to move 2 seconds

ahead, enter “+2.” (with a period after the numeral 2), then

press Return. To move ahead in minutes, enter two

periods after the numeral, then press Return. To move

ahead in hours, enter three periods after the numeral, then

press Return.

To move backward in seconds, enter a minus sign (–), then

enter the number of seconds to move backward, enter a

period, then press Return. For example, to move 2

seconds backward, enter “–2.” (with a period after the

numeral 2), then press Return. To move backward in

minutes, enter two periods after the numeral, then press

Return. To move backward in hours, enter three periods

after the numeral, then press Return.

Move forward or backward a specific

number of frames

With the timing display pop-up menu set to Show Current

Time, enter a plus sign (+) followed by the number of frames to

move forward, then press Return.

With the timing display pop-up menu set to Show Current

Time, enter a minus sign (–) followed by the number of frames

to move backward, then press Return.

Change the duration of a project

By default, a new Motion project has a duration of ten seconds.

You can change this duration to match the needs of your project.

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.

Display project duration in the timing

display

Do one of the following:

In the timing display, click the downward arrow, then choose

Show Project Duration from the pop-up menu.

in the timing display, click the clock icon to switch between

project duration display and current time display.

Change the project duration

Do one of the following:

With the timing display set to Show Project Duration, double-

click the number, type a duration value, then press Return.

When the timing display is set to Show Timecode, you can

type a precise timecode value in the HH:MM:SS:FF format

(hours:minutes:seconds:frames).

With the timing display set to Show Project Duration, drag left

or right over the number to decrease or increase the duration.

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.

Change the default project duration

Choose Motion > Preferences (or press Command-Comma),

then enter a project length in the Project Duration field.

Note: The duration of any open project is not changed. This

setting only takes effect in projects created after the

preferences are set and Motion is quit and reopened.

Change the duration in seconds, minutes, or

hours

1. Click the downward arrow in the timing display, and make

sure that the pop-up menu is set to Show Timecode and

Show Project Duration.

2. Double-click the timing display, then do any of the following:

Set the duration to an exact timecode value: Enter a

specific timecode value in the HH:MM:SS:FF format

(hours:minutes:seconds:frames), including a colon between

each double-digit number.

Set the duration in total seconds: Enter the number of

seconds followed by a period, then press Return.

Set a duration in total minutes: Enter the number of minutes

followed by two periods, then press Return.

Set a duration in total hours: Enter the number of hours

followed by three periods, then press Return.

Define 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 or by using Menu commands. 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.

Customize the playback In point

Do one of the following:

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 moves with your pointer. When you release

the mouse button, the playhead snaps back to its previous

position.

In the ruler, move the playhead to the frame where you want

to set the In point, then 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 Option-Command-I.

Customize the playback Out point

Do one of the following:

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.

In the ruler, move the playhead to the frame where you want

to set the Out point, then 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 Option-Command-O.

Reset playback In and Out points

Do one of the following:

Choose Mark > Reset Play Range.

Press Option-X.

The In and Out points reset themselves to the beginning and end

of the project.

Navigate to playback In and Out points

Do any of the following:

Navigate to an In point: Choose Mark > Go to > Play Range

Start (or press Shift-Home).

Navigate to an Out point: Choose Mark > Go to > Play Range

End (or press Shift-End).

About project playback

performance

When you play back a project, Motion attempts to display your

sequence in real time. However, if your computer has an older

graphics card, or if have more than one monitor connected to

your graphics card, playback performance may be negatively

affected.

Your graphics card also determines the maximum file size you

can import into Motion. For most recommended cards, the image

size limit is 4K or 8K. For the best results, resize very large images

to the largest size required in the project, but no larger.

Computers with graphics cards containing minimum amounts of

video RAM (VRAM) may experience poor performance (or other

issues) when creating 4K projects. For more information, visit the

Motion website at .

Note: Because of hardware limitations and differences, the

appearance of projects shared between computers with different

installed graphics cards may vary.

http://www.apple.com/finalcutpro/motion

Basic compositing overview

After you create a project and add content, you can begin to edit

and arrange the image layers in your composition. This process is

known as compositing, the art of combining at least two images to

produce an integrated final result. Motion graphics artists use

various compositing techniques to create animated visual effects

—transforming the physical properties of image layers (such as

scale), adjusting opacity, applying filters, creating text and

shapes, and so on. Compositing also includes special effects

techniques such as keying, masking, color correction, and the

creation of animated particle systems.

Most basic compositing tasks are performed in four areas of the

Motion workspace:

Work in a basic project

Layers list: Select image layers and effects objects in this

hierarchical list. You can also rearrange the stacking order of

image layers so that certain images appear above other

images in the Canvas. See .

Canvas: View and manipulate image layers in this visual

workspace. Select onscreen editing tools in the toolbar below

the Canvas to perform basic layout tasks in the Canvas—

selecting, moving, rotating, scaling, distorting, and so on. The

onscreen tools let you adjust all of these properties by

dragging in the Canvas. See

Tip: Although you can select layers in the Canvas, when

multiple layers are stacked one atop another, it’s often easier

to select specific layers in the Layers list.

Properties Inspector: You can also adjust layer properties

using numeric controls—sliders, dials, value fields, and so on.

Layers list overview

Transform layers in the Canvas

overview

These controls in the Properties Inspector let you make the

same adjustments afforded by the onscreen editing tools, but

with more precision. Adjustments made in the Canvas are

simultaneously updated in the Inspector, and vice versa. For

example, if 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. See

HUD: Many of the numeric controls in the Properties Inspector

are also available in the HUD (heads-up display), a floating

window that you can show or hide. See

Select and organize layers

Layers list overview

When you add media content, the resulting element is

represented in your Motion project as a layer. Think of layers as a

series of visual overlays stacked on top of each other. These

image layers combine to create the composition displayed in the

Canvas. Motion provides a graphical representation of this layer

hierarchy in the Layers list of the Project pane. In a 2D project, the

stacking order of layers in the Layers list determines which layers

appear in front of others in the Canvas.

You can modify layers by applying effects objects to them. Effects

objects also appear in the Layer’s list, under the group or layer to

which they are applied.

The Layers list contains the following objects:

Transform layers in the

Properties Inspector

Transform layers in

the HUD

Layers: The basic image objects—movie clips, still images,

shapes, text, particle systems, and so on—in your project that

combine to create a composition.

Effects objects: Nonimage objects that modify image layers or

groups. Effects objects include filters, behaviors, lights,

cameras, and rigs. Effects objects appear in the Layers list

indented under the layer or group that they modify.

Groups: Containers that enclose layers and effects objects.

When you create a layer, it’s placed inside a group. 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.

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.

Project object: An icon at the top of the Layers list that, when

selected, makes the Project Inspector available. The Project

Inspector displays parameters that are set to be published in

a template for use in Final Cut Pro X. For more information,

see and

Publish parameter controls to Final Cut Pro Add

multiple display aspect ratios to a template

Additional icons and controls in each row of the Layers list provide

information about the status of applied effects, allow you to lock

layers, and let you turn applied effects on or off. For more

information, see .

Note: In Motion, any element that appears stacked in the Layers

list is considered an object. That includes image layers, which are

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. For example, 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 Motion help, the

term object is often used to describe the superset of all elements

(layers, groups, and effects objects) that act upon and form a

composition. Layer, however, always refers to the image-based

elements acted upon.

Select layers and groups

Layers list controls

To reorganize layers and groups in a project, you must select

objects to move or modify. You can select layers and groups in

the Layers list or Canvas.

Note: You can also select, organize, and manipulate layers in the

Timeline layers list. Changes made in the Timeline layers list are

mirrored in the Layers list, and vice versa. See .

Select layers or groups in the Layers list

Do any of the following:

Select a single layer or group: Click a layer or group in the

Layers list or Canvas. All other selected objects are

deselected.

Note: Selecting a group does not select the layers nested

underneath it. However, operations performed on a selected

group also affect layers nested in the group.

Select multiple contiguous layers or groups: Click the first layer

or group, hold down the Shift key, then click the last layer or

group in the contiguous list.

Select multiple noncontiguous layers or groups: Hold down the

Command key while clicking multiple layers in the Layers list.

Select layers in the Canvas

Do any of the following:

Timeline overview

Select a single layer: Click the Select/Transform tool in the

toolbar (if it’s not already selected), then click an image in the

Canvas.

Select multiple layers: Click the Select/Transform tool in the

toolbar (if it’s not already selected), then drag a selection

rectangle around multiple images in the Canvas, or hold down

the Shift key while clicking multiple images.

Add or remove selections when there are

multiple selected layers

Do any of the following:

Add to selected groups or layers: Command-click any

unselected layer or group in the Layers list, or Shift-click any

unselected layer in the Canvas.

Deselect a layer from multiple selected layers: Command-click

any selected layer in the Layers list, or Shift-click any selected

layer in the Canvas.

Select all layers and groups

Do one of the following:

Choose Edit > Select All (or press Command-A).

Click the first group or layer in the Layers list then Shift-click

the last group or layer in the list.

Deselect all layers or groups

Choose Edit > Deselect All (or press Shift-Command-A).

SEE ALSO

Show and hide the Layers list

The Layers list is located in the Project pane, to the right of the

Canvas. You can show, hide, or resize the Project pane and

Layers list to customize your workspace.

Collapse or expand the Project pane

Do one of the following:

Choose Window > Show/Hide Project Pane (or press F5).

Click the Show/Hide Project Pane button in the bottom of the

Canvas.

Transform layer properties in the Canvas

Display the Layers list

Do one of the following:

If the Project pane is visible, click Layers at the top of the

pane.

Choose Window > Layers (or press Command-4).

Resize the Project pane

Do any of the following:

Resize horizontally: Drag the right edge of the pane left or

right.

Resize vertically: Drag the top edge of the Timing pane up or

down.

Note: You can also choose Window > Hide Timing Pane. The

Timing pane is hidden and the Project pane is expanded

vertically.

Expose layers in the Canvas

Motion’s expose 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. Expose

commands also let you select inactive layers at the playhead’s

current position or jump to a selected layer’s In point.

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.

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.

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 middle frame of the selected layer.

Add and remove layers and groups

You can add and remove layers or groups in the Layers list. You

can also add or remove layers (but not groups) in the Canvas.

Add a layer to your project

Do one of the following:

Drag an item from the File Browser or Library to a group in the

Layers list.

Drag an item from the File Browser or Library to the Canvas.

For more information about adding content from the File Browser

or Library, see .

Create a group in the Layers list

Do one of the following:

Click the Add button (+) in the lower-left corner of the Project

pane.

Control-click an empty area of the Canvas (in the gray area

outside the composition) and choose New Group from the

shortcut menu.

An empty group is added above the existing groups in the

Layers list.

Choose Object > New Group (or press Shift-Command-N).

An empty group is added above the currently selected object.

(If no object is selected, the empty group is added at the top

of the Layers list).

Note: You can also create groups when dragging files to the

Layers list from the File Browser or Library. For more information,

see .

Add and manage content overview

Duplicate a layer

Do one of the following:

Option-drag the layer to the position you want in the Layers

list, or Option drag a layer in the Canvas.

Note: You can also Option-drag layers between different

open Motion projects (to the Canvas or Layers list).

Control-click a layer in the Layers list or Canvas, then choose

Duplicate from the shortcut menu.

Clone a layer

When you duplicate a layer, subsequent changes made to the

original (source) layer are not inherited by the duplicated layers.

However, when you use the Make Clone Layer command,

changes made to filters and masks in the source layer propagate

to the clones. Creating clone layers improves project playback

and rendering performance.

Important: Behaviors don’t propagate to clone layers unless the

behavior affects a filter or mask in the source layer.

Do one of the following:

Select the layer to clone, then choose Object > Make Clone

Layer (or press K).

Control-click a layer in the Layers list, 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.

Note: You can modify clone layers independently of their source

layer. However, you cannot modify the Frame Blending parameter

of a clone layer created from a retimed source layer.

Remove a layer or group

Do one of the following:

Control-click a layer or group in the Layers list, then choose

Cut or Delete from the shortcut menu.

Select a layer or group in the Layers list, then choose Edit >

Delete (or press Delete) or Edit > Cut.

The layer or group 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 the “Automatically

manage unused media” checkbox is deselected in the General

pane of Motion Preferences. When this setting is deselected,

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 back to the Layers list. For

more information, see .

Reorganize layers and groups

The order in which layers and groups appear in the Layers list

determines which layers appear in front of other layers in the

Canvas. You can change the ordering of layers in the Layers list

or in the Canvas. However, it’s easiest to select layers and

change their stacking order in the Layers list.

Additionally, you can change layer order using commands in the

Object menu. These commands can be used with layers, effects

objects, groups, or groups nested in another group. Reordering a

group reorders all objects nested in that group.

Note: When using 3D groups, you can rearrange the depth order

in 3D space to override the layer order in the Layers list. For more

information about depth and layer hierarchy in 3D groups, see

Display, sort, and search the Media list

Create 3D intersection

Move a layer or group forward or backward

in your composition

Do one of the following:

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.

Select a layer or group in the Layers list (or select a layer in

the Canvas), click the Object menu, then choose Bring to

Front, Send to Back, Bring Forward, or Send Backward.

Note: You cannot use the Object menu reorder commands to

move image layers out of the group they’re nested in.

The selected layer or group is reordered in the Layers list and

Canvas.

Note: Using the Bring and Send commands in the Object menu

to move layers up and down in the nested hierarchy in any group

is especially useful when working with selected objects in the

Canvas. For more information, see .

Move multiple layers or groups forward or

backward in the composition

Do one of the following

Object menu

In the Layers list, Shift-click to select multiple contiguous

layers or groups or Command-click to select multiple

noncontiguous layers or groups, then drag the items up or

down in the Layers list.

A position indicator shows the new position the items occupy

when you release the mouse button.

In the Layers list, Shift-click to select multiple contiguous

layers or groups or Command-click to select multiple

noncontiguous layers or groups, click the Object menu, then

choose Bring to Front, Send to Back, Bring Forward, or Send

Backward.

Note: When you apply the Bring Forward or Send Backward

arrangement command to noncontiguous selected layers, the

layers move up or down the object hierarchy together, and

any space between the layers remains.

Move a layer from one group to another

When you have more than one group, you can move layers back

and forth between groups, changing their nested relationship in

your project.

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, showing 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).

Copy a layer from one group to another

Do one of the following:

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).

Select layers, choose Edit > Copy (or press Command-C),

select the group to paste into, then Control-click an empty

area of the Canvas (in the gray area outside your composition)

and choose Paste from the shortcut menu.

Copy a layer or group from one project to

another

When you have more than one project open, you can copy layers

or groups back and forth between projects.

1. Select one or more layers in the active project window.

2. Do one of the following:

Drag the selected object to a position in the target

project’s Layers list. A position indicator appears to show

where the object is placed when you release the mouse

button.

Choose Edit > Copy (or press Command-C), select a group

in the target project, then choose Edit > Paste (or press

Command-V).

Option-drag a layer in the Canvas to the Canvas or Layers

list of the target project.

Rename a layer or group

Renaming groups and layers in the Layers list helps organize your

project. When you rename a layer, the original name of the source

media file on disk remains unchanged. Likewise, renaming a layer

in the Layers list does not change the name of the layer’s

corresponding source media in the Media list. For more

information, see or

1. In the Layers list, double-click the name of a group or layer,

Source media overview Display, sort, and

search the Media list

then enter a new name.

2. To confirm the name, press Return, or click in another layer or

group.

Show, hide, solo, or lock layers and

groups

In the Layers list, you can disable layers and groups to make them

invisible in the Canvas without removing them from your

composition. For example, if a large image layer obstructs other

layers you want to adjust in the Canvas, you can temporarily

disable the offending layer. Similarly, you can disable effects

objects—filters, behaviors, masks, and so on—to temporarily

remove their effect on layers and groups.

If you disable a group, you also hide all layers and groups nested

in it. Hidden layers and groups are not included when your project

is exported.

In the Layers list, you can also solo or lock groups or layers to

prevent accidental modification.

Enable or disable objects

When you disable an image layer or group, it becomes invisible in

the Canvas. When you disable an effects object (such as a

behavior or filter), its effect is disabled.

Do one of the following:

Deselect the activation checkbox to the left of an object in the

Layers list.

Select an object, then choose Object > Active (or press

Control-T).

Control-click an object, then choose Active from the shortcut

menu.

When disabled, objects are dimmed in the Layers list. Disabled

layers are hidden in the Canvas; disabled effects objects no

longer modify the group or layer they’re applied to.

Note: If you disable layers in a group, the enclosing group’s

checkbox displays a dash instead of a checkmark, indicating that

some layers are not visible.

Solo a layer or group

You can “solo” a layer or group to hide all other layers and groups

in the project. This technique can be useful to isolate a single layer

or group in the Canvas to animate or manipulate it without

interfering with other objects in your composition.

1. In the Layers list, select layers or groups to solo.

2. 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.

Lock an object

Locked objects cannot be modified or moved, and their

parameters cannot be altered or animated. However, animation

and behaviors previously applied to a layer or group 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

Do one of the following:

Click the lock icon to the right of the object in the Layers list.

Add parameter controls overview

In the Layers list, select a layer, group, or effects object, then

choose Object > Lock (or press Control-L).

In the Canvas, the bounding box of a disabled layer (or a disabled

group of layers) turns white to indicate the item is locked.

Nest layers and groups

Nest layers and groups overview

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 their

parent group.

It’s a good idea to group layers that work together as a unit. 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. For example, when you select a group that has three

layers nested in it, the entire group is selected as a single unit.

Transforming the selected group in the Canvas moves all three

layers simultaneously.

Regardless of how they’re nested, layers can always be modified

independently. Subordinate groups can also be modified

independently. In the following example, a filter is applied to a

layer in a group containing three fish layers. All other layers in the

group remain unaffected.

However, If you apply the same filter to the group, all layers in that

group are affected by the filter, as if they were a single layer.

Many filters produce different results when applied to a group,

rather than individual layers in a group, as shown in the images

below.

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.

Note: You cannot group groups that appear at different

hierarchical levels in the Layers list.

Collapse and expand group hierarchies

To make the Layers list easier to manage, you can collapse layers

nested in a group. Collapsed groups appear as a single row in the

Layers 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 when the group is collapsed.

Open or collapse a single group

Do one of the following:

In the Layers list, click the disclosure triangle to the left of a

group’s name and icon.

Press the Up Arrow and Down Arrow keys to navigate up and

down the Layers list, then press Option–Right Arrow to open a

group or Option–Left Arrow to collapse a group.

Group, ungroup, and nest layers

Nesting layers and groups in the Layers list helps you apply

animation and other effects to specific elements of your

composition. For more information, see

Nest selected layers into a new group

1. Select all layers or groups you want to group together.

2. Choose Object > Group (or press Shift-Command-G).

The selected layers or groups are nested in a new group.

Ungroup nested layers

You can also delete a containing group and move and “unnest” its

contents.

1. In the Layers list, select a group containing the nested layers

or groups.

Nest layers and groups

overview

2. Choose Object > Ungroup (or press Option-Command-G).

The layers or groups are moved up in the Layers list hierarchy.

Note: You cannot ungroup groups that are at the root (project

level) of the Layers list hierarchy.

Move a group inside another group

1. In the Layers list, select one or more groups.

2. Do one of the following:

Drag the groups onto another group.

Drag the groups to a position at the bottom of another

group.

Choose Edit > Cut (or press Command-X) to cut the

groups, then select another group and choose Edit > Paste

(or press Command-V).

Constrain group size

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.

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.

If a project contains growing objects that move or expand beyond

the edges of the Canvas, use the Fixed Resolution checkbox to

decrease your computer processing time.

Note: The Group pane of the Inspector (which contains the Fixed

Resolution parameter) is only accessible when a group is selected

in the project.

Fix the resolution of a group

1. In the Layers list, select a group.

2. In the Group Inspector, select the Fixed Resolution checkbox.

By default, the group’s resolution is set to the project size;

objects in the group but outside the Canvas are cropped. An

“R” indicator appears to the right of the Fixed Resolution

checkbox, informing you that the group is rasterized. For more

information on rasterization, see .

3. To set a resolution other than that of the project, adjust the

Fixed Width and Fixed Height sliders.

If the group’s anchor point is offset, the cropping might not

occur around the edges of the Canvas, and objects may be

cut off.

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.

Groups and rasterization

Layers list controls

In each row of the Layers list, icons offer additional information

about groups, layers, and effects objects. Clicking these icons

modifies or turns effects, visibility, and locking on or off.

The Layers list contains the following controls:

Activation checkbox: Turns the visibility of the group, layer, or

effects object on or off. When an object’s visibility is off, you

can still modify the object’s parameters and manipulate its

onscreen controls (in the Canvas).

Preview: Displays a thumbnail of a layer or group. 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

object in a project that contains a camera. (For information

about cameras, see .) The Isolate 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 they are 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, its icon

appears open.

Mask, behavior, and filter icons: Appear when a mask,

behavior, or filter is applied to the layer or group. To turn off

the effect of the mask, behavior, or filter, click the icon so that

it’s marked with a red slash.

Add a camera

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. 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 .

Layers list shortcut menu

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 selected

How do blend modes work?

location.

Duplicate: Creates a layer identical to the selection.

Delete: Removes the selected layer.

Group: Places the selected layer or layers into a new group.

(For more information, see .)

Ungroup: Deletes a containing group, and moves its contents

up one level in the Layers list hierarchy.

Active: Enables or disables a layer, group, or effects object—

the equivalent to clicking an object’s activation checkbox.

Solo: Hides other layers and groups in the project (so that they

are not visible in the Canvas). When a layer or group is soloed,

activation checkboxes for other layers and groups are

dimmed. You can solo multiple layers and groups at a time.

Isolate: Hides all other groups and layers, and restores the

selected layer or group to a face-forward orientation for easier

adjustment (such as the application of a mask, for example).

This command becomes available only after you

to your project. Choosing Isolate for a camera object

activates that camera’s view.

3D Group: Switches the group from 2D mode to 3D mode. For

more information about 3D groups, see

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 activated in View > Layers Columns).

Add Image Mask: Adds an image mask to the selected layer.

An image mask creates transparency by deriving an alpha

Nest layers and groups overview

add a

camera

Create 3D

intersection

channel from another layer, such as a shape, text, movie, or

still image. For more information, see .

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, see

Reveal Source Media: Opens the Media list and highlights the

media file associated with the selected clip.

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, used to import files

from the Finder.

Paste: Pastes any item copied to the Clipboard into the

topmost group in the Layers list.

Project Properties: Opens the Properties Inspector for the

project, where you can modify the project’s background color,

aspect ratio, field rendering, motion blur, reflections, and so

on. For more information, see .

Customize the Layers list

You can modify the display of the Layers list to suit your needs.

Image masks overview

Add and remove layers and groups

Project properties overview

Adjust row height

Do one of the following:

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.

Click the Scale button at the bottom of the Layers list, then

drag the slider left to decrease row height or right to increase

row height.

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.

Stop filtering and return to the complete

Layers 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.

Show or hide mask, behavior, or filter

objects

You can hide effects objects in the Layers list to simplify your view

of layers and groups in your project.

Click the Show/Hide Masks, Show/Hide Behaviors, or

Show/Hide Filters button in the lower-left corner of the Layers

list.

When a button is dimmed, the effects object is hidden from view

in the Layers list. However, the effect remains active in the

Canvas.

Transform layers

Transform layers overview

The Motion interface provides three areas where you can

transform the basic spatial properties of layers and groups—

resizing, repositioning, rotating, cropping, and distorting them:

, where you can drag onscreen transform

handles

, where you can adjust numeric

controls (sliders, dials, value fields, and so on)

, where you can adjust a subset of the controls

found in the Properties Inspector

When you transform a layer in any of these areas, the layer’s

parameters are also updated in the other two sections of the

Motion workspace.

Transform layers in the Canvas

Transform layers in the Canvas overview

You can transform image layers in the Canvas using onscreen

controls (transform handles) to drag, resize, rotate, and more.

Although you can perform the same modifications with more

precision by

, onscreen controls give you a more hands-on method of

working.

Before transforming layers, you must make a selection in the

Layers list or Canvas. After you select a layer, a bounding box

with transform handles appears in the Canvas.

In the Canvas

In the Properties Inspector

In the HUD

adjusting parameter controls in the Properties

Inspector

You can move selected layers anywhere in the frame shown in the

Canvas, and 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; however, you can still manipulate the layer

using its bounding box.

You can perform different adjustments in the Canvas by choosing

different 2D transform tools in the toolbar. The default tool—

Select/Transform—lets you reposition, resize, and rotate a

selected layer or group. Other 2D transform tools let you distort or

crop objects, create drop shadows, and more.

SEE ALSO

Transform layer properties in the Canvas

After you select a layer in the Layers list or Canvas, you can

choose a 2D transform tool (from the pop-up menu in the toolbar)

Transform layer properties in the Canvas

2D transform tools

Align layers in the Canvas

to activate transform handles in the Canvas. Drag the handles to

transform basic image properties such as position, rotation, scale,

and so on. For a list of transform tools and their functions, see

Activate the Select/Transform tool

The Select/Transform tool (the arrow) is the default 2D transform

tool. Use it to resize, reposition, or rotate layers in the Canvas.

Click the Select/Transform tool in the toolbar, or press the S

key.

Note: If a different 2D transform tool is showing in the toolbar,

click and hold down the tool to open a pop-up menu, then

choose the Select/Transform tool (the arrow).

The Select/Transform tool is selected in the toolbar, and

transform handles appear in the Canvas for each selected

layer or group.

Choose a different 2D transform tool

When you choose a 2D transform tool from the pop-up menu in

the toolbar, transform handles appear in the Canvas for each

transform tools

selected layer or group.

Do any of the following:

In the toolbar: Click and hold down the Select/Transform tool,

then choose a different tool from the pop-up menu. For a list

of transform tools and their functions, see .

In the Canvas: Click the Select/Transform tool in the toolbar,

then Control-click any layer in the Canvas and choose a tool

from the shortcut menu.

2D transform tools

The options in the shortcut menu vary depending on the type

of layer selected. For example, a shape layer contains shape-

specific options such as Stroke, Edit Gradient, and Edit Points.

With the Tab key: In the Layers list or Canvas, select a layer,

then press Tab. Pressing Tab repeatedly cycles through the

2D transform tools in order. Pressing Shift-Tab cycles through

the tools in reverse.

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 transforms, see

Transform layers

1. Select one or more layers in the Layers list or Canvas.

Transform

layers in 3D space

2. Choose a 2D transform tool from the pop-up menu in the

toolbar, as described in the previous task.

3. Drag a transform handle in the Canvas.

If you selected a single layer, only that layer is modified:

If you selected multiple layers, each is transformed. 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

handle, one at a time:

Transform a group

If you select and then transform an entire group, all layers and

groups nested in it are treated as a single layer.

1. Select a group in the Layers list.

In the Canvas, a single set of transform handles appears on a

bounding box that encompasses all layers in the group.

2. Choose a 2D transform tool from the pop-up menu in the

toolbar, as described above.

3. Drag a transform handle in the Canvas.

All layer transforms occur around a single anchor point belonging

to the group:

If you select a layer and its parent group (but not the other layers

in the group), the following occurs:

The scale handles of the parent group remain available, and

the scale handles of the individual layers within the group are

dimmed. Dragging the group’s scale handles scales the

group, not its nested objects.

The rotation handles of the individual layers remain available.

Dragging an object’s rotation handle rotates that object

independently of the other objects in the group.

SEE ALSO

2D transform tools

Use the 2D transform tools to adjust and manipulate objects in the

Canvas. To select a tool, click the 2D transform tools control in the

toolbar and, holding down the mouse button, choose a different

tool from the pop-up menu.

When you choose a 2D transform tool and then select a layer or

group, handles appear in the Canvas. Drag the handles to move

Select layers and groups

2D transform tools

or transform an object in the Canvas.

Tip: Press S to select the Select/Transform tool. To quickly cycle

through tools, press Tab. Press Shift-Tab to cycle through the

tools in reverse.

Some of the tools are activated automatically when specific layers

are selected. For example, the Edit Points tool is selected after

you create a complex shape or mask layer, so you can

immediately adjust the Bezier or B-Spline control points.

Icon Tool Description

Select/Transfor

m tool (arrow)

Activates

selection and

transform

controls in the

Canvas for the

selected object.

Scale objects by

dragging a

corner point;

rotate objects by

dragging the

center point.

This is the

default tool in

the 2D transform

tools pop-up

menu. See

Anchor Point

tool

Activates an

anchor point

control (the point

around which an

object scales or

rotates) in the

Canvas for the

selected object.

Modify the

anchor point by

dragging it to a

new position.

See

Drop Shadow

tool

Activates a drop

shadow control

in the Canvas for

the selected

object. Drag a

corner handle to

Change a layer’s

position, scale,

or rotation

Move a

layer’s anchor

point

change the

direction and

offset of an

object’s drop

shadow. (This

control doesn’t

move the

object.) See

Distort tool Activates shear

and distortion

handles in the

Canvas for the

selected object.

Drag a midpoint

handle to shear

two adjacent

corners at the

same time,

leaving the other

two corners

locked into

place; drag a

corner handle to

distort a corner,

leaving the other

Add

a drop shadow

to a layer

three corners

locked into

place. See

Crop tool Activates crop

handles in the

Canvas for the

selected object.

Drag the edge or

corner of the

object to crop

(hide) a portion

of the object.

See

Edit Points tool Activates points

and Bezier

handles in the

Canvas for

complex masks,

shapes, and

motion paths.

See

Distort or shear

a layer

Crop a

layer

Modify the

control points of

Edit Shape tool Activates points

and curvature

handles in the

Canvas for

simple shapes.

See

Transform Glyph

tool

Activates

handles in the

Canvas for

selected text

characters

(glyphs). See

Adjust Item tool Activates

handles in the

Canvas that

modify specific

parameters such

a shape or

mask

Draw simple

shapes

Transform text

glyphs and other

object attributes

as the amount or

angle of a

Directional Blur,

the shape of a

particle emitter,

or the start and

end points of a

gradient. See

Change a layer’s position, scale, or rotation

The Select/Transform tool is the default tool in Motion.

Clicking the Select/Transform tool activates Canvas controls to

adjust a layer’s position, scale, and rotation.

Transform text

glyphs and other

object attributes

Change a layer’s position in the Canvas

1. Select a layer in the Layers list or Canvas.

A bounding box appears around the selected layer in the

Canvas.

2. Click the Select/Transform tool in the toolbar (if it’s not already

selected).

By default, the Select/Transform tool is the active tool. If you

have another tool selected, such as a Mask or Shape tool,

pressing the S key returns you to the 2D transform tools.

3. Drag anywhere inside the selected layer’s bounding box in the

Canvas.

The image is moved to a new position in the Canvas, and the

values are updated in the Position parameter of the Properties

Inspector.

Resize a layer in the Canvas

1. Select a layer in the Layers list or Canvas.

A bounding box appears around the selected layer in the

Canvas.

2. Click the Select/Transform tool in the toolbar (if it’s not already

selected).

By default, the Select/Transform tool is the active tool. If you

have another tool selected, such as a Mask or Shape tool,

pressing the S key returns you to the 2D transform tools.

3. Do any of the following:

Resize width and height at the same time: Drag a corner

handle in the Canvas.

The width and height are resized independently, which

may change the aspect ratio (ratio of width to height) of the

image.

Resize width and height proportionally: Hold down the Shift

key while dragging a corner handle in the Canvas.

The aspect ratio (ratio of width to height) of the image

remains the same.

Resize either width or height: Drag the top or bottom

handle to modify height; drag the left or right handle to

modify width.

The width or height is resized independently of the other.

Resize around the anchor point: Hold down the Option key

while dragging any scale handle in the Canvas.

The layer rescales, but the anchor point of the layer

remains pinned to its position in the Canvas.

As you drag the scale handles, the new width and height

percentages appear in the status bar above the Canvas and are

updated in the Scale parameter of the Properties Inspector.

Note: Scaling the width or height of a layer by a negative value

reverses the image, flipping its direction.

Rotate a layer in the Canvas

The Select/Transform tool also activates a handle used 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.

1. Select a layer in the Layers list or Canvas.

A bounding box appears around the selected layer in the

Canvas.

2. Click the Select/Transform tool in the toolbar (if it’s not already

selected).

By default, the Select/Transform tool is the active tool. If you

have another tool selected, such as a Mask or Shape tool,

pressing the S key returns you to the 2D transform tools.

3. 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.

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, and the value of the

Rotation parameter is updated in the Properties Inspector.

Move a layer’s anchor point

Selecting the Anchor Point tool activates Canvas controls to adjust

the point in a layer around which geometric transforms are

performed.

Layers rotate around the anchor point, but the anchor point also

affects resizing operations. For example, the default anchor point

for any layer is the center of the bounding box that defines the

layer’s edges. If you rotate a layer, it spins around this central

anchor point.

If you offset the anchor point, however, the layer no longer rotates

around its own center, but instead rotates around the new anchor

point.

Change the anchor point of a layer in the

Canvas

1. Select a layer in the Layers list or Canvas.

A bounding box appears around the selected layer in the

Canvas.

2. Click the 2D transform tools pop-up menu in the toolbar and,

holding down the mouse button, choose the Anchor Point tool.

In the Canvas, the selected 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

3. 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

Transform layers in 3D

space

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, and the

Anchor Point parameter is updated in the Properties

Inspector.

Note: If the anchor point is close to the center or edges of the

layer, and both Snapping and Dynamic Guides are turned on,

the anchor point snaps to that location.

Add a drop shadow to a layer

Selecting the Drop Shadow tool enables Canvas controls to create

a drop shadow and modify its blur, angle, and distance from a

layer.

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.

Add a drop shadow to a layer in the Canvas

1. Select a layer in the Layers list or Canvas.

A bounding box appears around the selected layer in the

Canvas.

2. Click the 2D transform tools pop-up menu in the toolbar and,

holding down the mouse button, choose the Drop Shadow

tool.

In the Canvas, a drop shadow bounding box appears around

the selected layer. By default, the drop shadow is hidden

behind the layer.

3. Drag inside the bounding box to set the distance and angle of

the shadow.

A shadow appears behind the layer, and the Drop Shadow

parameters are updated in the Properties Inspector.

Alternatively, you can add a drop shadow by selecting a layer,

then selecting the Drop Shadow activation checkbox in the

Properties Inspector. For more information, see

Adjust the blur of a drop shadow in the

Canvas

1. Select a layer in the Layers list or Canvas.

Properties

Inspector controls

A bounding box appears around the selected layer in the

Canvas.

2. Click the 2D transform tools pop-up menu in the toolbar and,

holding down the mouse button, choose the Drop Shadow

tool.

In the Canvas, a drop shadow bounding box appears around

the selected layer.

3. Drag a corner handle on the bounding box to adjust the blur of

the drop shadow.

The Drop Shadow parameters are updated in the Properties

Inspector.

Distort or shear a layer

Selecting the Distort tool activates Canvas controls to reposition a

layer’s corner points independently, and to shear (slant) its

midsection points horizontally or vertically.

Distort a layer in the Canvas

1. Select a layer in the Layers list or Canvas.

A bounding box appears around the selected layer in the

Canvas.

2. Click the 2D transform tools pop-up menu in the toolbar and,

holding down the mouse button, choose the Distort tool.

In the Canvas, a bounding box with eight handles appears

around the selected layer.

3. In the Canvas, drag any of the four corner handles to stretch

the layer into an irregular shape.

The Four Corner parameters are updated in the Properties

Inspector.

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 by dragging in the

Canvas.

Shear a layer in the Canvas

1. Select a layer in the Layers list or Canvas.

A bounding box appears around the selected layer in the

Canvas.

2. Click the 2D transform tools pop-up menu in the toolbar and,

holding down the mouse button, choose the Distort tool.

In the Canvas, a bounding box with eight handles appears

around the selected layer.

3. Drag any of the side handles or top and bottom handles to

shear (slant) the layer. The top and bottom handles shear the

layer horizontally. The left and right handles shear the layer

vertically.

The Four Corner parameters are updated in the Properties

Inspector.

Note: Shearing a layer using the Distort tool does not affect the

Shear parameter in the Transform area of 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.

Crop a layer

Selecting the Crop tool activates Canvas controls to resize the

borders of a layer.

Cropping lets you 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. The

crop operation can remove these undesirable artifacts. A layer

might also be cropped to isolate a single element of the image.

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

Note: If you must isolate a more irregularly shaped layer, or you

want to create a border of a specific shape, see

Source media controls in the Media Inspector

Shapes, masks,

and paint strokes overview

Crop a layer in the Canvas

1. Select a layer in the Layers list or Canvas.

A bounding box appears around the selected layer in the

Canvas.

2. Click the 2D transform tools pop-up menu in the toolbar and,

holding down the mouse button, choose the Crop tool.

In the Canvas, a bounding box with eight crop handles

appears around the selected layer.

3. Do any of the following:

Crop one edge: Drag the top, left, right, or bottom handle.

Crop two adjacent edges: Drag a corner handle.

Maintain the same aspect ratio while cropping: Hold down

the Shift key and drag a handle.

The ratio between the layer’s width and height is

preserved.

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.

The Crop parameters are updated in the Properties Inspector.

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.

Move the image while keeping the crop area

in place

Hold down the Command key while dragging 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.

Modify the control points of a shape or mask

Selecting the Edit Shape tool activates Canvas controls for

adjusting simple shapes and masks.

Selecting the Edit Points tool activates control points in the

Canvas for adjusting complex shapes and masks.

Modify a simple shape in the Canvas

1. After you create the simple shape or mask, click the 2D

transform tools pop-up menu in the toolbar and, holding down

the mouse button, choose the Edit Rectangle or Edit Ellipse

tool.

The shape or mask layer’s onscreen control points become

active.

2. In the Canvas, drag the control points to modify the shape of

the layer.

For information on creating and adjusting simple masks and

shapes, see and .

Modify a complex shape’s control points in

the Canvas

1. After you create the complex shape or mask, click the 2D

transform tools pop-up menu in the toolbar and, holding down

the mouse button, choose the Edit Points tool.

Note: You can also double-click the shape or Control-click

the layer, then choose Edit Points from the shortcut menu.

Draw simple shapes Draw simple masks

The layer’s control points become active.

2. In the Canvas, drag the control points (or the tangent handles

attached to each control point) to modify the shape.

For information on creating complex shapes, see

. For information on adjusting

complex shapes, see .

Transform text glyphs and other object

attributes

Selecting the Transform Glyph tool activates Canvas controls

(available only when a text layer is selected) 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

Selecting the Adjust Item tool enables Canvas controls that allow

you to manipulate filters, replicators, 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. For examples, see

Complex

shapes and masks overview

Edit control points overview

Text glyphs

overview

Use onscreen gradient controls

or .

Align layers in the Canvas

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.

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.

Align layers in the Canvas with the Object

Select the layers or groups you want to align, choose Object >

Alignment, then choose any of the following:

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

Adjust a replicator using onscreen controls

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 farthest 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 farthest, between the closest and farthest

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 farthest, between the closest and farthest

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.

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 farthest, between the closest and farthest layers in the

selection.

Each of the above commands affects the Position parameter

of each layer.

Transform layers in the Inspector

Transform layers in the Properties Inspector

You can adjust layer properties using numeric controls in the

Properties Inspector. These controls let you make the same

adjustments afforded by the 2D transform tools, but with more

precision. Adjustments made in the Canvas are simultaneously

updated in the Inspector, and vice versa. The available controls

vary depending on the type of layer you select in the Layers list or

Canvas.

When the Project object (located at the top of the Layers list) is

selected, controls become available in the Properties Inspector

that allow you to modify the project’s background color, aspect

ratio, field rendering, motion blur, reflections, and other global

settings. For more information on project properties, see

Open the Properties Inspector

Do one of the following:

Click Inspector in the top-left corner of the Motion workspace,

then click Properties.

Choose Window > Inspector (or press F1), then click

Properties.

The Inspector opens. 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.

Collapse or expand the pane containing the

Properties Inspector

Project

properties overview

Do one of the following:

Choose Window > Inspector (or press F1).

Click the “i” button in the lower-left corner of the Motion

workspace.

Show or hide a group of controls in the

Properties Inspector

Do one of the following:

Position the pointer over a row that contains a section name

(Transform or Blending, for example), then click Show or Hide.

Double-click the empty space in a row that contains a section

name.

Modify layer values in the Properties

Inspector

Do any of the following:

1. In the Layers list or Canvas, select a layer.

2. In the Properties Inspector, drag a slider or dial, choose an

item from a pop-up menu, select a checkbox, or enter a new

number in a value field.

Reset a layer value to its default state

In the Properties Inspector, do one of the following:

Click the Reset button beside a parameter category.

Click the Animation menu in a parameter row (the downward

arrow that appears when you move the pointer over the right

side of the row), then choose Reset Parameter.

For more information on how to use the parameter controls, see

. For a description of the

controls in the Properties Inspector, see

Properties Inspector controls

The Properties Inspector displays the following adjustable

parameters for most layers and groups:

Transform parameters

Position: Value sliders that define the X (horizontal), Y (vertical),

and Z (depth) positions of each layer.

Click the disclosure triangle next to the Position parameter to

reveal dials that adjust position around all three axes (X, Y,

and Z).

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 it 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 a layer farther away subtracts from the Z value.

User color and gradient controls overview

Properties Inspector

controls

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’ve 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: A pop-up menu that sets 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 its 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 its

Animate parameter options to have any effect. For

information about keyframing, see .

For information about 3D rotation, see

Scale: A slider that controls 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 define 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

Keyframing overview

Transform layers in

3D space

Blending parameters

Opacity: A slider that sets the transparency of the layer. For

more information, see .

Blend Mode: A pop-up menu that sets the Blend Mode of the

layer. For more information, see .

Preserve Opacity: A checkbox that, when selected, renders

the layer visible 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 .

Casts Reflections: A pop-up menu that determines whether a

layer casts a reflection. Choose from three options:

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 appears

in reflective surfaces around it.

Note: Reflections are only visible when layers are in a 3D

group. For more information on 3D groups, see

Drop Shadow parameters

An activation checkbox to turn the drop shadow of a layer on and

off. When selected, additional controls become available:

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.

Modify layer opacity

Layer blending overview

Modify layer opacity

About 2D

and 3D group properties

Blur: A slider that specifies the drop shadow’s softness.

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: A checkbox that, when selected, renders the

drop shadow as if cast by a fixed light source, regardless of

camera or text movement.

Four Corner parameters

An 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 reenables the distort effect specified by

the Four Corner coordinate parameters.

When the Four Corner checkbox is selected, value sliders to

modify the X and Y coordinates of the layer’s four corner points

(Bottom Left, Bottom Right, Top Right, and Top Left) become

available. You can also control these parameters visually in the

Canvas using the Distort tool. For more information, see

Crop parameters

An activation checkbox to turn cropping on and off. If a layer is

transform tools

cropped and this checkbox is deselected, the layer resumes its

original size, although the cropping values are maintained.

Reselecting the checkbox reenables the cropping effect specified

by the crop parameters.

Timing parameters

Value sliders to control all aspects of clip retiming. For more

information, see .

Lighting parameters

The Lighting parameter controls appear only when the parent

group is set to 3D.

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 lights.

Highlights: A checkbox that, when selected, causes lit layers

to 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 the strength of a layer’s highlights.

Higher values create a glossier appearance. This parameter is

disabled when the Highlights checkbox is deselected.

For more information, see .

Retime media overview

Add lights

Shadows parameters

The Shadows parameter controls appear only when the parent

group is set to 3D.

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: A checkbox that 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.

For more information, see .

Reflection parameters

The Reflection parameter controls appear only when the parent

group is set to 3D. The Reflection parameter controls are not

available for 3D particle emitters, 3D replicators, or 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.

Reflectivity: A slider that controls the shininess of the layer’s

surface. When set to 0%, there’s no reflectivity. When set to

100%, the layer is totally reflective, like a mirror.

Blur Amount: A slider that controls how blurry the reflection

Shadows overview

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.

For more information, see .

Media parameters

The Media parameters (available when an image layer is selected)

contain a thumbnail of the current layer and the “To” pop-up

menu.

To: A pop-up menu that lets you choose another image layer

in your project to replace the current layer. The replaced

media remains in your project in the Media pane.

Timing parameters

Use the Timing controls to set the selected object’s In and Out

points, as well as the duration of the object.

SEE ALSO

Reflection controls

Transform layers in the HUD

Like the Inspector, the HUD (heads-up display) is contextual and

changes its controls based on the selected object. For example,

when you select an image layer, its HUD contains opacity, blend

mode, and drop shadow controls.

When you select a shape layer, its HUD contains additional

controls for adjusting fill, outline, width, feathering, and so on.

When you apply an effects object to a layer or group (a filter,

behavior, particle emitter, and so on), HUDs for effects also

become available. For more information, see the chapters in

Motion help covering those subjects.

Display a HUD

Do one of the following:

Select a layer or group, then choose Window > Show HUD (or

press F7).

Select a layer or group, then click the Show/Hide HUD button

Transform layers in the Properties Inspector

in the toolbar (to the right of the timing display).

Press D.

Switch between HUDs of a selected layer

Do one of the following:

Click the downward arrow in the HUD title bar to list all

possible HUDs that can be displayed for the selected object,

then choose the HUD to view from the pop-up menu.

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 were

applied.

When you select multiple objects of the same type, a

combined HUD appears (with “Multiple Selection” displayed in

its title bar).

Jump to the Inspector from the HUD

Most of the time, the HUD displays a subset of the parameters

visible in the Inspector for the selected object. If you’re working in

the HUD, you can jump to the Inspector to access the remainder

of the controls for that object.

Click the Inspector icon (the “i”) in the upper-right corner of

the HUD.

The Inspector corresponding to the HUD appears.

Edit multiple objects at the same time in the

HUD

For simultaneous adjustment to work, the objects must be the

same (such as two Throw behaviors or two shapes).

1. In the Layers list or Canvas, select the objects (of the same

type) to modify.

2. In the HUD titled “Multiple Selected,” adjust the parameters.

Adjust opacity and blending

Modify layer opacity

The opacity and blending controls for each layer appear in the

Properties Inspector and in the default HUD for any selected

layer.

By stacking layers with varying opacities, you can merge images

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.

You can overlap as many layers as you want, and by varying their

opacities, selectively reveal layers in the back.

Change a layer’s opacity

Do one of the following:

1. In the Layers list or Canvas, select a layer.

2. Do one of the following:

In the Properties Inspector, adjust the Opacity slider (in the

Blending section).

In the HUD, adjust the Opacity slider.

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

Inspector and setting its Opacity value in the Style Inspector

require separate controls that have multiplicative effects. In other

words, if Opacity is set to 50% in the Properties Inspector, then

set to 50% in the Style pane of the Shape Inspector, the resulting

opacity for the text is 25%.

Limit the visibility of overlapping layers

The Preserve Opacity checkbox in the Properties Inspector lets

you limit a layer’s visibility to areas of the Canvas where the layer

overlaps nontransparent regions of other layers.

With a layer (the dolphin image in this example) selected in the

Canvas or Layers list, select the Preserve Opacity checkbox in

the Properties Inspector.

The only area of the layer visible is the area that overlaps the

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 controls 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.

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.

Layer blending

Layer blending overview

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

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.

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

Blend modes that manipulate

alpha channels

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, allowing 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.

SEE ALSO

Change a layer’s blend mode

You can change a layer’s blend mode in several ways.

Modify a layer’s blend mode

With a layer selected, do one of the following:

In the HUD, click the Blend Mode pop-up menu, then choose

a different mode.

In the Properties Inspector, click the Blend Mode pop-up

menu, then choose a different mode.

Choose Object > Blend Mode, then choose a different mode

from the submenu.

Control-click a layer in the Canvas, Layers list or Timeline, then

choose Blend Mode and a different mode from the shortcut

menu.

In the Layers list, display the Blend Mode column (choose

View > Layers Columns > Blend Mode), then click a layer’s

Blend Mode pop-up menu and choose a different mode.

Change a layer’s blend mode

How do blend modes work?

How do blend modes affect groups?

Types of blend modes

Blend modes that manipulate alpha channels

How do blend modes work?

Each blend mode presents a different method of combining

(compositing) two or more images. 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 a red, green,

and blue channel, and sometimes an additional alpha channel.

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.

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.

For example, the Multiply blend mode renders white color values

in an image transparent, while black values 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.

How do blend modes affect groups?

Blend modes work differently depending on whether they’re used

with groups or layers. One blend mode—Pass Through—is

available only for groups.

Pass Through

When a group is set to Pass Through (the default blend mode for

groups), each layer in the group is blended with all layers and

groups that appear underneath it in the Layers list—including

layers in other groups. In the following example, the Swirls layer is

set to Stencil Luma, and the Fishes layer is set to Add.

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 are

blended with layers underneath them in the same Group. Layers

nested in the group do not blend with layers in other groups

beneath them in the Layers list. In the following example, the

Fishes and Swirls layers in the topmost group are blended only

with themselves when the topmost group is set to Normal.

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 the gradient in the

background.

Other blend modes

When you set a group to any other available blend mode, the

following happens:

The layers in that group are blended according their own

blend modes.

The resulting composite of all layers in that group is then

blended with other groups lower in the Layers list, according

to the selected blend mode for the original group.

In the example cited above, when the topmost group is set to

Multiply, the composite of the Added Fishes and the Stenciled

Swirls layers is multiplied with the Gradient layer in the

bottommost group.

Types of blend modes

The following section describes how blend modes cause layers to

combine to create different results. The blend modes are

presented in the order in which they appear in the Blend Mode

pop-up menu, arranged into groups of modes that create similar

results.

Most of the examples in this section are created by combining the

following two reference images:

The resulting image illustrates how differently the color values from

each image interact under each blend mode. When examining the

results, pay attention to the white and black areas of the colored

squares, as well as to the highlights and shadows in the

chimpanzee image. 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, red, pink, and blue

squares, in particular, all have very different color and luminance

values that contrast sharply from example to example.

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 blend mode

The default blend mode for layers. In a layer set to Normal, any

transparency is caused by the Opacity parameter or by an alpha

channel.

Darkening blend modes

The following blend modes tend to create a result darker than

either of the original images:

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. The order of two layers affected by the Subtract

blend mode is important.

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.

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.

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.

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: 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. The order of two layers

affected by the Color Burn blend mode is important.

Linear Burn: Similar to Multiply, except that darker overlapping

midrange color values are intensified, as with 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.

Lightening blend modes

The following blend modes tend to create a lighter result than

either of the original images.

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. The order of two layers affected by the Add blend

mode does not matter.

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: 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 emphasizes the lightest parts of

each overlapping image, except that the midrange color

values of both images are mixed together more evenly. 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.

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.

Color Dodge: Preserves whites in either the foreground or

background 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. Reversing the two overlapping images

results in subtle differences in how the overlapping midrange

color values are mixed together.

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.

Complex blend modes

The following blend modes create results by applying a

combination of effects, based on the original images. Each mode

can create a variety of results depending on the specific values of

the images being mixed together. Some of these modes are

designed to simulate the effect of shining a light through the top

layer, effectively projecting upon the layers beneath it.

Overlay: Causes whites and blacks in the foreground image to

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. The order of two

layers affected by the Overlay blend mode is important.

The Overlay blend mode is useful for combining areas of vivid

color in two images.

Soft Light: Similar to the Overlay blend mode, makes whites

and blacks in the foreground image translucent. However, the

translucent whites and blacks continue to 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.

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: Causes whites and blacks in the foreground image

to 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.

Vivid Light: Similar to the Hard Light blend mode, with two

exceptions: Vivid Light mixes midrange color values together

more intensely, and preserves whites and blacks from either

overlapping image in the end result. (Dithering can cause

overlapping areas of solid white and solid black.) 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.

Linear Light: 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.

Pin Light: 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 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.

Hard Mix: 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. 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.

Inversion blend modes

The following two blend modes create results that often appear to

resemble aspects of a photographic negative of the selected

layer.

Difference: Similar to the Subtract blend mode (in the

Darkening category), 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. 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. (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

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.

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 . 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

Shapes, masks, and paint

strokes overview

rasterized

Alpha example to Normal, then add a group underneath

containing additional layers, those layers show through the

transparent areas created by the silhouetted group.

The following blend modes modify the alpha channel of the layer

to which the blend mode is applied:

Stencil Alpha: 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.

Stencil Luma: 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.

Silhouette Alpha: The reverse of the Stencil Alpha blend mode,

useful for cutting holes in underlying layers.

Silhouette Luma: The reverse of Stencil Luma.

Behind: 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: 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: 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,

noncomposited image. To adjust the parameters that affect

the Light Wrap, such as Amount, Intensity, Opacity, and

Mode, apply the Keyer filter and make those adjustments in

the Filters Inspector. For more information, see

Note: Motion applies the Light Wrap effect at the end of the

rendering process. When you add other filters to the layer,

Keyer filter

controls

such as color correction effects, they are rendered before the

Light Wrap.

View and navigate in the Canvas

Zoom or pan the Canvas

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

pan the Canvas to modify your view of a composition. Zooming

and panning does not change the size or layout of the images in

your project. It only changes your working view of the entire

composition.

Zoom using the Zoom tool

1. In the toolbar, click the view tools pop-up menu, then choose

the Zoom tool.

Zoom mode is activated in the Canvas.

2. Do one of the following:

Click in the Canvas to zoom in.

Press Option and click in the Canvas to zoom out.

Drag right or left in the Canvas to smoothly zoom in or out.

Zoom using other methods

Do any of the following:

Click the Zoom Level pop-up menu at the top-right side of the

Canvas, then choose a zoom percentage.

Holding down the Space bar and Command key (in that

order), drag the pointer horizontally in the Canvas. The zoom

occurs around the spot clicked in the Canvas.

On 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.

Zoom a specific area of the Canvas

Zoom in: Holding down the Space bar and Command key (in

that order), drag the pointer over an area in the Canvas; while

still holding down the keys, click in the Canvas to zoom in 50

percent increments of the current zoom level.

Zoom out: Holding down the Space bar, Command key, and

Option key (in that order), click in the Canvas 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.

Zoom to make the project fill the Canvas

Click the Zoom Level pop-up menu, then choose Fit.

Pan using the Pan tool

1. In the toolbar, click the view tools pop-up menu, then choose

the Pan tool.

Pan mode is activated in the Canvas.

2. Drag in the Canvas to move your composition in different

directions.

Pan using a keyboard shortcut

Holding down the Space bar, drag the pointer in the Canvas.

Reset the Canvas Zoom level or Pan

Do one of the following:

Click the Zoom Level pop-up menu at the top-right side of the

Canvas, then choose 100%.

In the toolbar, double-click the Zoom tool.

Note: Double-clicking the Pan tool resets pan, but not zoom.

View dynamic Canvas feedback

The status bar at the top-left side of the Canvas shows

information about layer transforms, color, coordinates, and

playback frame rate—dynamically, as you modify layers.

Turn display of the status bar on or off

1. Type Command-Comma to open Motion Preferences.

2. In the Appearance pane of Motion Preferences, select or

deselect the Dynamic Tool Info checkbox.

When you select Dynamic Tool Info, the status bar appears

above the Canvas whenever you adjust a layer by dragging in

the Canvas. For example, when you scale an object in the

Canvas, the width and height values are displayed in the

status bar.

Display pixel color

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.

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 in values 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.

Display the current pointer position

For precise 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.

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.

Display playback frame rate

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 only while a

project is playing.

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.

Custom Canvas view options

The pop-up menus in the top-right side of the Canvas let you

customize various view settings, including zoom level, color

channels, rendering options, overlay options, and 3D view layouts.

Zoom Level pop-up menu

Choose any of several default zoom levels. Zooming the Canvas

changes the current view of the window, not the size of the

images in your project. For more information, see

Channels pop-up menu

Choose which color channels are displayed in the Canvas:

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

Zoom or pan the

Canvas

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.

Overexposure: Displays the overexposed areas of the

composition. Luminosity values above 1.0 (out of gamut) are

indicated by a red-and-white crosshatch pattern. Values

above 2.0 appear solid red. You can use the

to limit the range of luminance or chrominance in an

image to the broadcast legal limit.

Render menu

Broadcast Safe

filter

Render menu

Choose the render quality and resolution of the Canvas display,

and 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.

The Render pop-up menu displays the following items:

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’s no anti-aliasing.

Normal: Renders objects in the Canvas at a medium quality.

Shapes are anti-aliased, 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, anti-aliased

intersections, anti-aliased particle edges, and sharper text.

Custom: Allows you to set additional controls to customize

rendering quality. Choosing Custom opens the Advanced

Quality Options dialog. For more information, see

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 may improve performance.

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. For more

information, see .

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 may improve performance.

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

Advanced

Quality settings

Final Cut Pro templates overview

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

Choose layout guides and controls that can be viewed in the

Canvas. When an option is active, a checkmark appears beside

the menu item. (Many of these menu options are also available in

the View menu in the menu bar.)

The View and Overlay pop-up menu displays the following items:

Show Overlays: Enables or disables the display of rulers,

grids, guides, and other layout overlays in the Canvas. This

setting must be on to view any other overlay items. 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 pane (Alignment section) of Motion Preferences.

For more information, see

Note: You can also press Shift-Command-R.

Manage layout with rulers and

guides

Note: You can also press Shift-Command-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 pane

(Alignment section) 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

section) 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 section) of Motion Preferences.

Note: You can also press Shift-Command-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 section) of Motion

Preferences.

Note: You can also press the Apostrophe key (‘).

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

section) 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 appear only 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, 3D compass,

inset view, 3D grid, and 3D scene icons. (3D overlays appear

in projects that contain 3D groups. See .)

Note: You can also press Option-Command-Slash (/).

3D View Tools: Turns the Camera menu and 3D view tools in

the Canvas on and off. See .

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).

See .

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

View 3D overlays

3D view tools

About cameras and views

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. See .

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. See .

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. See .

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.

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.

Inset view

3D grid

3D scene icons

Use Drop Zones: Turns drop zones on and off. When Use

Drop Zones is enabled, a checkmark appears next to the

menu item, and drop zones accept objects dragged to them.

When this command is turned off, drop zones ignore objects

dropped onto them. For more information, see

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

Choose a preferred view your project in the Canvas. You can view

the Canvas as a single workspace or choose from available

window arrangements in the menu. (Although the workspace

views are available for 2D projects, they are most useful when

working in 3D space.)

The View Layouts pop-up menu displays the following items:

Drop zones

overview

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.

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 items:

Quality: A pop-up menu that sets rendering quality. These

settings are identical to the Quality settings in the Render pop-

up menu. (For more information on the Render popup menu,

see .)

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 the

Text Quality parameter is set to Low. This option allows

optimal project interactivity.

Normal: “Shape anti-aliasing” is selected, and the Text

Quality parameter is set to Medium. This option allows

project interactivity that is slower than Draft, but much

faster than Best.

Best: “High-quality resampling,” “Shape anti-aliasing,” and

“Anti-alias 3D intersections” are selected. Text render

quality is set to High. This option slows down project

interactivity.

Custom: Lets you set your own combination of render

settings.

High Quality Resampling: Turns on high-quality resampling

(increasing or reducing the number of pixels in an image).

Text Quality: A pop-up menu that sets text-rendering quality to

Low, Medium, or High. When High is selected, project

interactivity may slow.

Shape anti-aliasing: Renders shapes at a higher resolution,

Custom Canvas view options

Shape anti-aliasing: Renders shapes at a higher resolution,

then scales objects back to regular resolution to ensure

smooth edges.

Anti-alias 3D intersections: Renders objects intersecting in 3D

space at a higher resolution, then scales objects back to

regular resolution to ensure smooth edges.

Manage layout with rulers and guides

Using rulers and guides (line overlays) in the Canvas can help you

compose or align elements of your project, as well as snap

objects to rulers.

Turn on rulers

Click the View pop-up menu at the top-right side of the

Canvas, then choose Rulers (or press Shift-Command-R).

When Canvas 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.

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.

Add a horizontal or vertical guide to the

Canvas

1. Click in the gray area of the horizontal or vertical ruler, then

drag into the Canvas.

As you drag, the position of the guide is displayed in the

Canvas.

Note: Guides must be enabled in the View pop-up menu (or

by pressing Command-Semicolon).

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.

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.

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 of the Motion workspace, then release the mouse

button.

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.

3D compositing overview

Motion includes a robust set of tools for creating three-

dimensional layers that intersect and interact with one another.

The 3D features in Motion are powerful, yet flexible, allowing to

you combine 2D elements and 3D elements to create different

effects. You can:

take advantage of advanced 3D features such as:

Work in a 3D project

Rotate or reposition 2D layers in 3D space

Create intersecting 3D layers

Add a 3D camera and convert your entire project to 3D

Tip: Before you begin creating 3D environments, learn the basics

of the 3D coordinate system in Motion. See

You can also create 3D text in Motion. For more information see

About 3D coordinates

3D coordinates overview

In a standard 2D Motion project, coordinates are measured in two

dimensions, along two axes: X (side to side) and Y (up and down).

A 3D Motion project contains an additional dimension (depth),

which is measured along the Z axis (front to back). All three axes

(X, Y, and Z) meet in the center of the Canvas, at a point called

the origin, where X=0, Y=0, and Z=0. Moving an object to the left

subtracts from the X value, while moving it to the right adds to the

X value. Moving an object up adds to the Y value, while moving it

down subtracts from the Y value. Moving an object “closer” adds

to the Z value, while moving it farther away subtracts from the Z

value.

In a 2D project, the X and Y axes remain static: X always runs

horizontally, and Y always runs vertically. However, in a 3D

Camera animation

Lighting

Shadows

Reflections

3D coordinates

overview

3D text overview

project, you can change your point of view, which reorients (from

your perspective) the direction of the 3 axes. As a result, moving

an object up (from your perspective) doesn’t always mean

increasing its Y position value.

Note: In a new project, the Canvas is oriented with the Z axis

pointing straight at you. This orientation preserves the traditional

two-dimensional orientation of the X and Y axes.

Motion uses the following conventions for 3D coordinates:

Object movement is along an axis.

Object rotation is around an axis.

Each axis is color-coded: X is red; Y is green; and Z is blue.

Positive rotation is counterclockwise around an axis.

The coordinates of an object (as shown in the Inspector) are

relative to the coordinates of the group in which the object

resides. For more information, see .

About relative coordinates

In Motion, the coordinates of an object are relative to the

About relative coordinates

coordinates of the group that the object resides in. For example, if

you position an empty group at X, Y, and Z coordinates of 100,

100, 100, then add a layer (a porcupine image in the example

shown below) to the group, the layer’s coordinates are shown in

the Properties Inspector as 0, 0, 0. However, in the Canvas the

image layer appears offset (100 pixels right of center, 100 pixels

above center, and 100 pixels “closer” to you). The layer’s

absolute coordinates in the Canvas may be the same as those of

its parent group (100, 100, 100), but the Properties Inspector

displays the layer’s relative coordinates (0, 0, 0—the center of the

layer’s parent group).

Rotation values are also relative to an object’s parent. For

example, rotating the group 45° also rotates the porcupine layer

45° in the Canvas; however, in the porcupine layer’s Properties

Inspector, the Rotation value remains 0°—the rotation value of the

porcupine relative to its parent group.

Transform layers in 3D space

In Motion, 2D layers and groups can exist in the same project as

3D layers and groups. You can manipulate any 2D layer in 3D

space by using the 3D transform tool.

Move a layer in 3D space

1. Select the 3D Transform tool in the toolbar (or press Q).

2. Select a layer or group in the Layers list or Canvas.

3D handles appear on the selected object in the Canvas.

3. Do any of the following:

Move the object horizontally: Drag the red arrow to move

the object along its X axis.

Move the object vertically: Drag the green arrow to move

the object along its Y axis.

Move the object forward or backward: Drag the blue

handle to move the object along its Z axis.

Tip: If the blue handle is facing forward, drag left or right

to move the object forward or backward.

As you drag, the active arrow turns yellow, and the status bar

above the Canvas displays the current coordinates of the object

as well as the distance the object has moved (delta). Coordinates

are given in the form of X, Y, and Z.

Rotate a layer in 3D space

1. Select the 3D Transform tool in the toolbar (or press Q).

2. Select a layer or group in the Layers list or Canvas.

3D handles appear on the selected object in the Canvas.

3. Move the pointer over one of the rotation handles (small circles

surrounding the arrows) until a colored rotation ring appears,

then drag the ring.

The red ring rotates the object around its X axis.

The green ring rotates the object around its Y axis.

The blue ring rotates the object around its Z axis.

As you drag, the status bar above the Canvas displays the

absolute rotation values as well as the amount of rotation change

(delta).

Rotate a layer around all axes

simultaneously

1. Select the 3D Transform tool in the toolbar (or press Q).

2. Select a layer or group in the Layers list or Canvas.

3D handles appear on the selected object in the Canvas.

3. Holding down the Command key, move the pointer over one of

the rotation handles (small circles surrounding the arrows) until

all three rotation rings appear, then drag over the object (but

not over the rotation handle).

The object rotates around all three axes simultaneously, and the

status bar above the Canvas displays the absolute rotation values

as well as the amount of rotation change (delta).

Display a subset of the 3D transform

handles

Do any of the following:

Display the axis arrows only: Press the Comma key (,).

Display the rotation handles only: Press the Period key (.).

Display the scale handles only: Press the Slash key (/).

When you press any key a second time, the display switches

back to the default, with all three of the onscreen controls

visible.

Transform a layer in 3D space using the

HUD

As an alternative to dragging in the Canvas, you can transform

layers and groups in 3D space using graphic controls in the HUD.

1. Select the 3D Transform tool in the toolbar (or press Q).

2. Select a layer or group in the Layers list or Canvas.

3. Choose Window > Show HUD or press D.

4. In the HUD, do any of the following:

Move a layer: Drag in any of the three Move squares to

reposition the object along its Z axis, X and Y axes, or X

and Z axes. Hold down the Command key while dragging

to simultaneously scale the object as it’s moved,

preserving its size relative to the camera.

Rotate a layer: Drag in the Rotate square to rotate the

object around the X and Y axes. To rotate around the Z

axis, hold down the Command key while dragging.

Resize a layer: Drag in the Scale square to uniformly resize

the selected object in the Canvas. To constrain scaling to

the axis corresponding to the initial direction of the drag,

hold down the Command key while dragging.

Choose an axis type: Click the Adjust Around pop-up

menu, then choose an item. Local Axis (the default) orients

3D transforms to the object’s local coordinates. World Axis

orients 3D transforms to the coordinates of the 3D grid in

the Canvas. View Axis orients 3D transforms to the view

space of the current view, with the Z axis aligned along the

view’s line of sight. For more information on views, see

3D intersection

About cameras and views

Create 3D intersection

By default in Motion, the order of layers in the Layers list

determines the stacking order of layers in the Canvas. In other

words, layers higher up in the Layers list appear in the Canvas on

top of layers that are lower in the Layers list. This hierarchy of

layer organization is called layer order. Even when you move a

layer forward in Z space using 3D transform handles, that layer

does not pass through or move in front of layers that are higher in

the Layers list. Layer order prevents intersection and interaction of

layers.

Important: 3D text objects only intersect with other 3D text

objects. Additionally, 3D text uses only layer order: For 3D text to

appear above other non-3D text layers, the 3D text must be

positioned above the other layers in the Layers list; the text’s Z

position in the Canvas has no effect. For more information, see

In the image below, groups Red A and Blue B are positioned at

the same point in 3D space. But because they are layer-ordered,

Red A does not intersect with Blue B.

To have objects intersect in the Canvas, you must convert groups

About 3D text intersection and layer order

in your project to depth order. You do this by converting 2D

groups to 3D groups.

In the image below, because the parent group has been

converted to 3D, groups Red A and Blue B now intersect.

To summarize:

Groups and layers nested in 2D groups are composited in

layer order.

Groups and layers nested in 3D groups are composited in

depth order.

A Motion project can contain both 2D and 3D groups, and both

groups can be parents or nested children of one another. And you

can convert a group from 2D to 3D, and vice versa, at any time.

Convert a group from 2D to 3D to enable

intersection

In the Layers list, select a 2D group, then do one of the

following:

Click the 2D icon to the right of the group in the Layers list.

Choose Object > 3D Group (or press Control-D).

In the Group Inspector, click the Type pop-up menu, then

choose 3D.

The 2D group icon is replaced by a 3D group icon, and layers and

groups nested in the parent group are converted to depth order,

allowing intersection with other depth-ordered layers and groups.

To change a group from 3D to 2D, use the same method

described above.

Important: Some operations, as well as the application of some

filters or a mask, cause a group to be rasterized. When a group is

rasterized, it’s converted into a bitmap image. Rasterization

affects 2D and 3D groups in different ways, sometimes preventing

3D intersection. For more information, see

About 2D and 3D group properties

2D groups and 3D groups behave in different ways. And in the

Group Inspector, 2D groups and 3D groups have different

parameters.

The Group Inspector for 3D groups contains Flatten and Layer

Order parameters. Selecting the Flatten checkbox places layers

and groups inside the 3D group into a two-dimensional plane.

Selecting the Layer Order checkbox composites layers and

groups inside the 3D group according to their position in the

Layers list rather than by depth order (position in the Canvas

along the Z axis). For more information, see

The Group Inspector for 2D groups contains the Fixed Resolution

parameter. Selecting the Fixed Resolution checkbox lets you

manually set the size of a group, using sliders. By default, Fixed

Resolution is disabled and the size of the group is determined by

Groups and

rasterization

Create 3D

intersection

the layers in that group. For more information, see

2D group properties

Nested layers and groups are composited in the Canvas in

layer order (hierarchical order in the Layers list). However,

adjacent 3D groups that are not nested in 2D groups can

intersect based on depth order.

In the example above, the two gray balls in the 2D Foreground

group are composited on top of the rest of the scene. Group

A and Group B intersect because they are 3D groups, but

neither of them can intersect with the 2D root-level groups.

A 2D group can be nested in a 3D group.

A 2D group not nested in a 3D group is locked to the camera,

even if the camera is animated. (For more information about

cameras, see .

Filters are applied to a 2D group in local space—that is, flat to

the image.

Constrain

group size

About cameras and views

When lights are used, the group is lit as a single object;

nested layers and groups are not lit individually.

Note: 2D groups not nested inside 3D groups are not

affected by lights.

Because it is flat, a 2D group has Drop Shadow, Four Corner,

and Crop parameters in the Properties Inspector.

2D groups can have a fixed resolution.

3D group properties

Nested layers and groups are composited in depth order

(according to their position along the Z axis).

When a 3D group is nested in a 2D group, the 3D 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.

Filters are applied to a 3D group in view space. In other

words, the filter affects the group as if it were applied to the

lens of the camera viewing the group.

When lights are used on a 3D group, its nested layers and

groups are lit individually.

Only a 3D group with the Flatten parameter enabled has Crop,

Drop Shadow, and Four Corner parameters in the Properties

Inspector.

Add cameras to create 3D

environments

3D cameras overview

By default, newly created Motion projects are 2D, planar

environments. When you add a scene camera and convert your

project to a 3D environment, the following occurs:

A third dimension (depth) is activated in the Canvas,

represented by the Z axis.

A camera object is added to the Layers list and to the Canvas

(as a wireframe icon that you can drag like any other object in

Motion). Like a real-world camera, a Motion scene camera lets

you frame a custom point of view during your sequence. And

like a real camera, a Motion scene camera can be static or set

into motion to create elaborate tracking shots.

Controls become available in the Inspector for adjusting your

camera’s angle of view and other properties. See

3D overlays become available in the Canvas to help you view

and arrange your 3D elements. See .

Additional reference views (called reference cameras) become

a available so that you can see your 3D project from various

angles (from the front, back, sides, and so on). See

A group of camera behaviors becomes available, allowing you

to apply sophisticated animated camera moves. See

SEE ALSO

Add a camera

In 3D mode, anything you see in the Canvas represents the

viewpoint of a camera, either a default reference camera or a

scene camera that you create. You can create cameras to look at

your scene from different points of view. You can place cameras,

animate them, and apply behaviors to them. Creating multiple

cameras lets you make different cameras active at different times,

allowing you to “cut to” different views over the course of the

project.

Note: When building a 3D project, it can be useful to position

cameras to examine your project’s layout from different

Controls in

the Camera Inspector

View 3D overlays

About

cameras and views

Add

Camera behaviors

Add a camera

About cameras and views

viewpoints. Rather than repeatedly moving the Perspective

camera, you can add scene cameras to use as spatial

bookmarks. You won’t want to use these cameras during export,

so be sure to disable them before rendering.

The scene cameras you create are used for rendering output.

Scene cameras appear in the Canvas as wireframe camera icons

and as objects in the Layers list.

Add a scene camera to a Motion project

1. Click the New Camera button in the toolbar, or choose Object

> New Camera.

If your project contains no existing 3D groups, the following

dialog appears:

If your project is empty or already contains at least one 3D

group, go to step 3.

2. Do one of the following:

To add a camera without converting 2D groups in your

project to 3D groups, click Keep as 2D.

To add a camera and convert 2D groups in your project to

3D groups, click Switch to 3D.

The following happens:

A camera object is added to the Layers list and Canvas

(represented there by a wireframe icon).

The 3D Transform tool in the toolbar is selected.

The Camera HUD becomes available (if it isn’t visible,

press F7).

The Camera Inspector becomes available.

The Camera pop-up menu (set to Active Camera) becomes

available in the upper-left corner of the Canvas.

3. Click the Camera pop-up menu in the upper-left corner of the

Canvas, then choose a camera view.

For more information, see and

About cameras and views

In a 3D workspace, everything is seen from the viewpoint of a

camera. If you want to export your project specifically from a

camera view, you must add a scene camera. When you add a

scene camera to a project, additional reference cameras become

available to help you see your composition from various angles,

such as top, bottom, left, and right. Scene cameras are used for

rendering output when you export your project; what you see

through the scene camera represents your final render. Reference

cameras are not used for rendering.

Scene cameras

There are two types of scene cameras to choose from in the

Camera Inspector:

Framing: Sets the camera origin (or anchor point) at the focal

plane (a plane perpendicular to the camera’s local Z axis—in

other words, perpendicular to your line of sight as you look at

the Canvas). The position of a Framing camera’s origin makes

it useful for orbiting moves—rotating the camera causes it to

orbit.

Camera pop-up menu About

cameras and views

Viewpoint: Sets the camera origin (or anchor point) at the

center of projection, “inside” the virtual camera. Rotating a

Viewpoint camera causes it to pivot—also known as panning

(horizontal) or tilting (vertical).

For more information, see .

You set the scene camera type (Framing or Viewpoint) in the

Camera Inspector. Scene cameras appear in the Layers list and

Canvas (as wireframe objects that you can move and rotate to

change your point of view).

Reference cameras

There are two types of views provided by the reference cameras:

Orthogonal: Views the scene by looking straight down one of

the world axes: X, Y, or Z. The Front and Back cameras look

straight down the Z axis. The Top and Bottom cameras look

straight down the Y axis. The Left and Right cameras look

straight down the X axis. Orthogonal views do not show

perspective.

Controls in the Camera Inspector

Perspective: Views the scene with perspective distortion, the

way a real-world camera would. (Scene cameras also view

the scene in perspective.)

Reference camera views are selected in the Canvas, via the

or the .

Reference cameras do not appear as objects in the Layers list or

Canvas, nor can they be manipulated like a scene camera.

SEE ALSO

Work with camera views and overlays

View 3D overlays

After you , there are six 3D overlays

available in the Canvas to help you view and arrange your 3D

elements:

: Sets the camera view.

Camera pop-up menu 3D compass

Add a camera

View 3D overlays

Scale, position, and animate cameras

Controls in the Camera Inspector

add a camera to your project

Camera pop-up menu

: Sets the camera view.

: Control reference and scene cameras.

: Displays the scene from a different camera’s

perspective.

: Shows the ground plane of the 3D world.

: Changes the Canvas view in 3D space.

: Display onscreen representations of

cameras, lights, and edge-on lines.

Show or hide 3D overlays

Do one of the following:

Camera pop-up menu

3D view tools

Inset view

3D grid

3D compass

3D scene icons

Choose View > 3D Overlays, then choose an overlay type.

Click the View pop-up menu above the Canvas, then choose

an overlay type.

A checkmark next to an overlay type in the pop-up menu

indicates that the overlay is enabled in the Canvas.

Camera pop-up menu

The Camera pop-up menu, located in the upper-left corner of the

Canvas, lists the active camera view. Choose from a list of scene

cameras and reference cameras. This menu also contains several

view-related commands.

The Camera pop-up menu is divided into three sections:

The top section lets you select the active scene camera as

well as any other scene cameras you’ve added to your

project. For more information on scene cameras, see Add a

Active Camera/Camera: When you choose Active Camera

from the pop-up menu, the topmost camera in the Layers

list at the current playhead position (in the Timeline)

becomes the active camera. The active camera is the

camera through which you view your project in the

Canvas. It’s also the camera view that’s rendered when

you export your project. If a project contains only one

scene camera (as shown above), two items appear at the

top of this pop-up menu: Active Camera and Camera,

which represent the same camera.

If a project contains more than one scene camera (as

shown below), all scene cameras appear at the top of the

Camera pop-up menu, under the Active Camera item. To

make a different scene camera the active camera, choose

a different camera from the top section of the pop-up

menu. (Scene cameras listed in this section of the Camera

pop-up menu appear in the same order as they do in the

Layers list.)

camera

For more information, see .

The middle section of the Camera pop-up menu lets you

choose a reference camera to help you see your composition

from various angles. Choose any of the following to activate a

reference camera view:

Perspective: Like a real-world camera, views the scene

with perspective distortion. For example, layers farther

away from the camera appear smaller than layers closer to

the camera. The perspective view defaults to a view from

the front center.

Front: This orthogonal camera looks straight down the Z

axis and shows a perpendicular view from the front of the

scene.

Back: This orthogonal camera looks straight down the Z

axis and shows a perpendicular view from the back of the

scene.

Left: This orthogonal camera looks straight down the X axis

Work with multiple cameras

and shows a perpendicular view from the left of the scene.

Right: This orthogonal camera looks straight down the X

axis and shows a perpendicular view from the right of the

scene.

Top: This orthogonal camera looks straight down the Y axis

and shows a perpendicular view from the top of the scene.

Bottom: This orthogonal camera looks straight down the Y

axis and shows a perpendicular view from the bottom of

the scene.

Note: The orthogonal camera views (Front, Back, Left,

Right, Top, and Bottom) ignore perspective.

The reference camera views cannot be exported. However,

you can still animate a scene camera when a reference

camera view is selected.

Note: Because project objects are 2D (flat), they may not

visible in the Canvas when you choose an orthogonal camera

view (Front, Back, Left, Right, Top, and Bottom). This is

because orthogonal views are at right angles (perpendicular)

to 2D elements in your project. When you select an object

that’s invisible to an orthogonal references camera, a thin

white line represents the object in the Canvas. For more

information, see .

The bottom section of the Camera pop-up menu allows

access to five frequently used commands:

Reset View: Resets the camera view to its default

orientation. (Control-R)

Select Active Camera: Selects the active camera in the

project—the topmost camera in the Layers list that is

3D scene icons

visible at the current frame (when there are multiple

cameras existing at the same frame in time). (Control-

Option-C)

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. If no objects are selected, Frame Object resets the

reference camera to view all objects in the scene. (Shift-

Command-F)

Focus On Object: Used when a camera has

turned on. Adjusts the camera’s Focus Offset to the

selected object. (Control-F)

After you choose a camera view (scene camera or reference

camera), use the to pan, orbit, or dolly the camera.

3D view tools

The 3D view tools in the upper-right corner of the Canvas become

available after you . Use these tools

to modify the position and orientation of reference and scene

cameras, thereby changing your view of objects in 3D space.

A scene camera indicator (a gray camera icon) appears at the left

of the 3D view tools when a scene camera is the active camera.

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.

depth of field

3D view tools

add a camera to your project

Pan, orbit, or dolly using the 3D view tools

Do one of the following:

Pan: Drag over the leftmost control to move the camera along

the X and Y axes relative to the current view.

Orbit: Drag over the middle control to orbit the camera around

the selected scene object. If nothing is selected, the camera

orbits around its focal plane. For more information on the

camera focal plane, see .

Orbit can affect X, Y, and Z Position values, as well as X and

Y Rotation values.

Note: If you use the orbit control to change an orthogonal

reference camera, an asterisk appears next to the view’s

name in the Camera pop-up menu, indicating that the view is

no longer a true orthogonal view.

Dolly: Drag over the rightmost control to dolly the camera,

moving it along the Z axis relative to the current view.

Tip: Double-clicking a 3D view tool resets all parameters that can

be affected by the tool.

Pan, orbit, or dolly in small or large

Controls in the Camera Inspector

increments

Do one of the following:

Hold down the Shift key while dragging in the Pan, Orbit, or

Dolly controls to adjust the camera in increments of 10.

Hold down the Option key while dragging in the Pan, Orbit, or

Dolly controls to adjust the camera in increments of .01.

Pan, orbit, or dolly using keyboard

commands and a two-button or three-

button mouse

Do one of the following:

Pan: Drag in the Canvas while holding down the Option key

and the right mouse button.

Orbit: Drag in the Canvas while holding down the Command

key and the right mouse button.

Dolly: Drag in the Canvas while holding down the Command

key, the Option key, and the right mouse button.

Reset your camera

Do one of the following:

Double-click the Pan, Orbit, or Dolly tool.

Click the pop-up Camera pop-up menu (in the upper-left

corner of the Canvas), then choose Reset View.

In the Properties Inspector for the camera, click the reset

button for the Transform parameters.

3D compass

Located in the lower-left corner of the Canvas, the 3D compass

acts as an orientation and shortcut device. It has active and

passive states, depending on whether the pointer is positioned

over it. In its passive state, it displays the orientation of the three

world axes (X, Y, and Z). In its active state, the compass presents

color-coded shortcuts to activate the reference (orthogonal and

perspective) cameras.

Show or hide the 3D compass

Click the View pop-up menu above the Canvas, then choose

Show 3D Overlays and 3D Compass.

A checkmark next to an overlay type in the pop-up menu

indicates that the overlay is enabled in the Canvas.

Select a reference camera view using the

3D compass

1. Position the pointer over the compass.

The compass changes to its active state, displaying a labeled

icon for each reference camera view.

2. Click the icon representing the camera to activate.

The view in the Canvas updates to the selected reference

camera view.

Select a camera view using the 3D compass

1. Position the pointer over the 3D compass.

The compass changes to its active state.

2. Control-click the 3D compass, then choose a scene camera or

reference camera view from the shortcut menu.

The view in the Canvas changes to the selected camera view.

Inset view

When you move an object (a layer, group, camera, or light) in a 3D

project, an inset view appears in the lower-right corner of the

Canvas, showing the scene from a different camera’s point of

view. If you’re viewing the scene through the active camera, the

inset view shows the Perspective camera’s point of view. If you’re

viewing the scene through any other camera, the inset view shows

the active camera. Use the inset view to see the results of

changes that you make in orthogonal views.

Show the inset view

Click the View pop-up menu above the Canvas, then choose

Show 3D Overlays and Inset View.

A checkmark next to an overlay type in the pop-up menu

indicates that the overlay is enabled in the Canvas.

You can set the inset view’s size and when it appears in the

Canvas by opening Motion Preferences (press Command-

Comma), then adjusting the settings in the 3D pane.

3D grid

The 3D grid shows the ground plane of the 3D world. The ground

plane is, as the name states, a plane attached to the ground of

the scene, where Y equals 0. The ground plane represents the

dividing line between up and down, that is, between positive Y

values and negative Y values. It is centered on 0, 0, 0.

Show the 3D grid

Click the View pop-up menu above the Canvas, then choose

Show 3D Overlays and 3D Grid.

A checkmark next to an overlay type in the pop-up menu

indicates that the overlay is enabled in the Canvas.

3D scene icons

3D scene icons are onscreen wireframe representations of

cameras and in your project. (When a scene camera is

active, its 3D scene icon is not visible because you’re viewing the

scene through that camera. To see the camera’s scene icon, click

the Camera pop-up menu and choose a different camera view.)

When you rotate a flat layer (a shape or image) so that its plane is

perpendicular to the screen, another type of 3D scene icon

becomes visible: an edge-on line that lets you see and manipulate

an object that would otherwise be invisible.

Note: No 3D scene icons appear in exported images or movie

clips.

Tip: Double-click a camera scene icon to select it and change

the current view to that camera.

lights

Show the 3D scene icons

Click the View pop-up menu above the Canvas, then choose

Show 3D Overlays and 3D Scene Icons.

A checkmark next to an overlay type in the pop-up menu

indicates that the overlay is enabled in the Canvas.

Viewport layouts

Viewports are window divisions in the Canvas that display multiple

camera views at the same time. Viewports can help you animate

and position objects in 3D space. The default viewport is a single

camera view. You can add more viewports by clicking the gray

box in the top-right corner of the Canvas, then choosing an

arrangement:

Single: The default value, displays a single viewport window in

the Canvas.

Two-up, side by side: Displays two viewport windows in the

Canvas, one next to the other.

Two-up, top and bottom: Displays two viewport windows in

the Canvas, one on top of the other.

Three-up, large window below: Displays three viewport

windows, two next to each other on top and a larger window

below.

Three-up, large window right: Displays three viewport

windows, two stacked on the left side and a larger window

spanning the right side.

Four-up, large window right: Displays four viewport windows,

three stacked on the left side and one larger window on the

right side.

Four-up: Displays four viewport windows, all the same size.

When working with multiple viewports, the most recent view

clicked in is the active view. The active viewport is highlighted with

a yellow border. Only the active viewport displays transform

handles.

Note: The active viewport in the Canvas is not the same as the

active camera. For more information, see

Work with multiple cameras

If a scene contains more than one camera, you can set the

topmost camera in the Layers list and Timeline to be the active

camera at the current frame. Although the active camera is the

default camera used for export, you can select any scene camera

to export. (The active camera is not the same as the active view.

The active view is the last viewport you clicked in when working

with multiple viewports.)

About cameras and

views

Note: Dragging and dropping an object onto the Canvas adds the

object to the scene at the focal plane of the current camera.

Dragging an object into the Layers list or clicking the Apply button

in the preview area of the File Browser positions the object at

0, 0, 0 in the Canvas.

Make a camera active based on its layer

order

In the Canvas, click the Camera pop-up menu, then choose

Active Camera.

The topmost camera in the Layers list at the current frame

becomes the active camera (Camera 2 in the example above).

Make a specific camera the active camera

In the Canvas, click the Camera pop-up menu, then choose a

scene camera.

SEE ALSO

Scale, position, and animate cameras

Motion gives you various ways to scale, position, “walk,” and

animate cameras. After you position cameras in a project, you

can select a single camera view using the Isolate command. For

more information, see .

Scale a camera

Use the Scale parameter in the Properties pane of the Inspector

to scale what a scene camera sees. For example, when the

Timeline overview

Isolate an object in the Canvas

camera “shrinks,” the scene it views seems to become larger.

1. Select a camera in the Canvas, Layers list, or Timeline.

2. In the Properties Inspector, drag the Scale slider.

Note: Changing the Scale value does not affect a camera’s

Angle of View parameter. Additionally, changing the Scale

value only affects framing cameras. For more information

about framing cameras, see and

Position a camera in the Canvas

Do one of the following:

Drag a camera or its onscreen controls in the Canvas.

For more information, see .

Select a camera in Canvas, Layers list, or Timeline, then

adjust the Position or Rotation controls in the Properties

Inspector.

Select a camera in Canvas, Layers list, or Timeline, then

adjust the 3D transform controls in the HUD.

For more informatio