Motion

Product Overview April 2004

Product Overview Motion

Contents

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Introduction Welcome to Motion Getting Started Professionally Designed Templates Bringing in Media Managing Your Project Next-Generation Animation Tools: Behaviors Accelerated Filters and Effects The Timeline Keyframe Animation Working with Text Dynamic Particle Engine Rendering Integration with Final Cut Pro HD Integration with DVD Studio Pro Who Is Motion For? Technical Specifications Product Details System Requirements Support

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Introduction
Introducing Motion, the real-time motion graphics design software built specifically for Mac OS X and the Power Mac G5. Motion uses a procedural animation approach called behaviors to create animation. You simply drag a behavior (such as Spin or Throw) to your object and let go. Behaviors automatically create animation without the need for keyframes. Filters (such as Glow, Defocus, and Kaleidoscope) also yield instant results: Drop a blur filter on an image and the image is blurredinstantly, at full resolution. You can sit with your creative directors, clients, or other collaborators and interactively design a motion graphics project on your desktop. Waiting for previews to render is no longer a constant part of the workflow. How is this level of real-time performance achieved? Motion has been designed from the ground up to take advantage of the Power Mac G5 and Mac OS X, including access to large amounts of RAM and a fast graphics subsystem. A scalable animation engine delivers unmatched onscreen interactivity. Unique accelerated filter effects let you combine and animate text, graphic, and video elements. And with the multilayered Timeline and audio mixing capabilities, you can edit motion graphics instantly and precisely. Along with keyframe-based animation, Motion features a cutting-edge, intuitive approach called behaviors. You can easily apply natural simulations like gravity, wind, and edge collision, or sophisticated behaviors like attract and repel that produce interactions between multiple objectswithout the slowdown and complexity involved in creating keyframes. Motion works seamlessly with Final Cut Pro HD, DVD Studio Pro, Adobe Photoshop, and Adobe Illustrator. Open Motion directly from the Final Cut Pro HD Timeline and youll maintain all of your existing cuts, layers, and even motion paths.

Welcome to Motion

Whether the work is commercials, documentaries, titles, broadcast graphics, corporate presentations, or DVD menusand whether artists need the precision of keyframed animation, the free-flow animated effects of behaviors, or a little of bothMotion has the toolset to meet todays motion graphics needs. Welcome to Motion, a place where work and play come together.
Configurable User Interface 3 4
4 File Browser for instant access to any hard drive or server. Access to text, masking, and drawing tools using the Toolbar. Layer order displayed in the Project pane. Particles created from any movie or graphic.

7 Traditional Keyframe Editor for precise animation. Markers can be color-coded with notes. Full Timeline editing of objects, filters, and behaviors.

Getting Started

When Motion is first started, the Welcome window appears. From this dialog, beginners can access tutorials or online movies, casual users can choose from one of Apples professionally designed templates, and experienced users can dive right in and start a new project.
Professionally Designed Templates
Every content creation application lets the user create new projects from scratch. But Motion goes beyond that to allow novice users to create stunningly professional work. Like DVD Studio Pro, Motion comes with an assortment of Apple-designed motion graphics templates that can be modified to fit the needs of a wide variety of projects. For more skilled graphic artists, using elements from each template as building blocks can save valuable production time.

Bringing in Media

The first step in any content creation application is getting video clips, still images, and graphic files into the application. Apples Motion software simplifies the process by integrating a File Browser into the tabbed Utility window. Like the Finder sidebar in Mac OS X, the File Browser provides quick access to hard drives and the files on those hard drives.

File Browser

Preview images and clips (including audio).
Display browser contents in Icon or List view.
Canvas. The Canvas is used to view and interact with the objects in your project. You can apply effects by dragging them from the Library directly onto the objects in the Canvas. As you add and edit effects, the changes update immediately in the Canvas. Text and shapes are also created directly in the Canvas. In addition to the viewing area, the Canvas contains the following components.

Canvas

Toolbar. The Toolbar is used to transform objects, show Motion interface components, add effects, and change the view of a composite. Transport controls. The transport controls are used to play or scrub through a project, enable audio playback, and enable automatic keyframing. Mini-Timeline. The mini-Timeline can be used to slide objects in time and trim the duration of an object without having to go into the Timing pane, which contains the full Timeline component.
Dynamic alignment guides. Like other Apple applications, Motion uses dynamic alignment guides that assist in the layout of objects on the Canvas. The alignment guides are displayed automatically when an object is dragged around the Canvas, appearing when objects are aligned to the center of the Canvas or aligned with other objects on the screen.

Dashboard. Motion uses a contextual toolsetthat is, the appropriate tools and slider parameters are displayed depending on what object is selected in the Canvas, Project pane, or Timeline. Dashboards are semitransparent floating palettes that provide the most commonly used parameters for any object selected onscreen. For behaviors, an intuitive graphical control appears in the Dashboard, making it simple and even fun to play around with animation behaviors. With a click of the mouse or swipe of a pen, a full list of controls appears in the Inspector.
Onscreen controls. In addition to the Dashboard, an active bounding box appears around the selected object in the Canvas. The default onscreen controls for the bounding box include control points (for scaling), a pivot point, and a rotation handle. These controls allow you to transform and animate objects directly in the Canvas, even if the project is playing. Library. The Library, located in the Utility window, can be thought of as the place from which an artist or editor accesses all the creative content for a project. This includes effects (behaviors and filters), generators (solids, gradients, and patterns), content (templates, particle presets, gradient presets, and text styles), Apple LiveFonts, and any third-party Adobe After Effects filters installed. Custom behaviors, filters, gradients, text styles, and more can be created and saved to the Library. These saved presets can then be applied to other objects in the current project or future projects. Gestures. If artists or editors are more comfortable working with a pen and tablet, Gestures allow them to maneuver around the Motion interface with a swipe of the pen. Swipe the pen to the right and move 10 frames forward; draw a greater-than sign (>) and the Timeline starts playing; swipe down and it stops playing. More than 35 gestures allow artists and editors to keep their eyes on the animation, instead of searching for keyboard commands or menu items.

Managing Your Project

When media (such as QuickTime movies or still images) is brought into Motion, it becomes an object in a layer. Shapes and text created in Motion also become objects in a layer. Behaviors, transformations, filters, masks, or blend modes can be applied to any object in a layer. They can also be applied to the layer itself. A layer acts as the parent of its objects (images, QuickTime movies, shapes, and so on). For example, if a layer is moved, all objects within that layer are also moved. If a behavior or filter is applied to a layer, the behavior or filter is applied to all objects within the layer. Layers, filters, behaviors, masks, and objects within a project can be viewed and organized in the Project pane. Project pane. The Layers tab in the Project pane displays the structure of all the layers, media, and objects in a project, as well as the filters and behaviors applied to those objects. Layers and objects that are arranged higher up in the stack appear in front of the lower layers. The Project pane makes it easy to select objects, apply behaviors and filters to objects, and change layer ordering without having to open the Timeline.

Project Pane

Add and delete objects and effects. Rename and reorder objects and effects. Lock objects and effects. Show and hide entire layers or individual objects. Set the blend mode of an object.
Next-Generation Animation Tools: Behaviors
Behaviors are the heart of Motion. With just a drag and drop, behaviors can quickly and easily create natural, fluid animations or complex simulated interactions between multiple objects in real timewithout the slowdown and complexity involved in creating keyframes. Behaviors animate an object by automatically generating a range of values for that objects parameters. Motion does this by using procedural animation instead of keyframing. Procedural animation can be very useful for generating natural, lifelike motion with relatively little effort, because the computer calculates the dynamics. Getting fluid, natural motion or sophisticated multilayered animations using keyframes can be tedious and a nightmare to modify. Although the application of most behaviors is elementary, their power is quite sophisticated. Basic motion behaviors. Among the simplest behaviors in Motion, basic motion behaviors animate specific properties of the object. Some affect position, such as Throw, while others affect opacity, such as Fade In/Fade Out. These are the fundamental building blocks used daily in motion graphics. Some of these simple behaviors are easy to create with keyframes, but procedural animation, or behaviors, provide the benefits of quick modification and the ability to instantly change direction. Simulation behaviors. The simulation behaviors perform one of two tasks: Some simulation behaviors simulate real-world phenomena on a single object, such as Gravity. Others, such as Attractor and Repel, affect multiple objects in the same layer. These behaviors allow you to create some very sophisticated fluid animations and interactions among multiple objects with minimal effort. Most of these would be too time consuming to attempt with keyframes, and some are impossible to re-create. Parameter behaviors. Parameter behaviors can be applied to any individual parameter, and their effects are limited to just that parameter. For example, you can apply the Oscillate behavior to the Opacity parameter of an object to make the object rhythmically flash on and off. If the Oscillate behavior is applied to the Rotation parameter of an object, the object rocks back and forth. Parameter behaviors can also be applied to Filter parameters or Generator parameters. Parameter behaviors remove the need for typing complex expressions using mathematical equations. Custom behaviors. Custom behaviors allow artists and editors to design their own behavior by selecting and keyframing a set of parameters and then saving it to the Library. Once a custom behavior is created, it can be used on other objects or in future projects. Text animation behaviors. Text animation behaviors animate the parameters specific to titling effects. For example, the Crawl Left behavior automatically animates a text object to move across the screen from right to left, while the Type On behavior reveals a text object one character at a time. Text behaviors make it easy to create specific text-related animations like animated tracking, type on, and other unique characterby-character animations. Keyframes vs. behaviors. A keyframe is a point in time that records any change in the value of a parameter. The animation is created by these changes in parameter values, and can be edited in the Keyframe Editor. Behaviors do not add keyframes to objects. Instead, a behavior automatically generates a range of values that are applied to an object, which animate the object over the duration of that behavior.

By design, behaviors are most useful for creating generalized, fluent motion effects or very complex animations. Keyframing gives you the ability to set precise parameter values at specific frames. In most motion graphics projects, this is not an either/or decision; both methods have their place in creating animation. An application providing only one method limits the creative options, causing the tool to define how a project looks. Creating keyframes from applied behaviors. You can create keyframes by baking behaviors that have been applied to an object. Since a behavior merely applies a value range to an objects parameter, this gives you additional control over the effect and timing of a behavior. Note that some simulation behaviors that cause multiple layers to interact cannot be baked as keyframes, because each object relies on the other or on a dynamic set of circumstances to create the motion.
Accelerated Filters and Effects
The Motion Library contains a suite of more than 90 accelerated filters, many of which will play in real time on a video clip. The filters are divided into 12 subcategories:

Line Art

Blur Border Color Correction Distortion
Glow Keying Matte Sharpen
Stylize Tiling Time Video
The accelerated performance of Motion is most evident when a Gaussian Blur, an image distortion, or one of the stunning Glows is applied to a video clip and parameters are adjusted interactively. But many wonderful creative filters are included in Motion. Highlights include PrimatteRT for chroma keying, explosive Light Rays, and creative Kaleidoscope filters. Filters are applied in the same manner as behaviorsby dragging a filter from the Library to an object in a project. Filters can be animated by creating keyframes in the Inspector or recording screen interactions on the fly. A less obvious approach is to apply parameter behaviors to the filter parameters.

Color Reduce

The Timeline
While the mini-Timeline is handy for simple timing adjustments on a single object or layer, the full Timeline provides a global view of all elements (layers, objects, behaviors, and so on) in a project, and the position and duration of those elements over time. The Timeline allows for powerful, graphical editing of objects, audio, keyframes, masks, behaviors, or filters.

Radial Blur

The Timeline includes some surprisingly powerful editing tools that have been missing from motion graphics tools in the past. In addition to simple move and trim, editing features like insert, overwrite, and slip are included to better match the timing of other objects in a project. If multiple clips are dragged into the Timeline, a drop menu provides the choice to either layer the clips on top of each other for compositing or place them sequentially to create an edit.

Adding media to the Timeline. Like the Layers tab or the Canvas, media can be added to a project via the Timeline. Similar to the mini-Timeline, when media is dragged to the Timeline, a drop menu appears that contains options that specify how the new files are placed in the project, such as Composite, Insert, and Overwrite. Modifying behaviors in the Timeline. The Timeline can be an important tool for modifying behaviors. Like objects, behaviors appear as colored bars in the Timeline, and they can be moved and trimmed to define new start and stop points for the behaviors. Moving keyframes in the Timeline. The Timeline displays tracks for layers and objects or audio as well as masks, behaviors, and filters applied to those layers and objects. Keyframe markers can also be displayed in the Timeline and can be moved or deleted. The Keyframe Editor is used to modify the curve and perform more advanced keyframe editing.

Keyframe Animation

Working with keyframes is a necessary process when a project calls for precision on a specific frame. There are three convenient ways to create keyframes in Motion: Record animation. When the Record button is enabled (in the transport controls), any change in value to a parameterwhether in a Dashboard, in the Inspector, or directly in the Canvasresults in the creation of a keyframe. This allows artists and editors to play back projects and record actions in real time. After actions are recorded in real time, keyframes can be quantized so the track doesnt end up with a keyframe on every frame. Animation menu. Located in the Inspector, this menu allows users to set explicit keyframes at any time for any parameter. This is a very simple and handy method of adding keyframes while working in the Inspector. Keyframe Editor. While the Timeline shows an overall view of the objects and effects and their relation to each other in time, the Keyframe Editor provides an editable, graphic representation of how an effect changes over time. Animated parameters appear as curves in a graph in the Keyframe Editor; the values of each keyframe define the shape of the animation curve. In the editor, keyframes can be added, deleted, moved in time, and have different interpolations applied. As in the Timeline, the list of displayed parameters can be modified in the Keyframe Editor. Artists and editors can choose to show all parameters for a selected object, only animated parameters, or all active parameters. Active parameters are sent to the Keyframe Editor from the Animation menu in the Inspector. By default, only the animated parameters are listed in the parameter list and their curves displayed in the Keyframe Editor.
The Set List menu can be used to filter what is displayed in the Keyframe Editor. Click the Show pop-up menu and select the All, Animated, or Active options. When All is selected, all parameters associated with the selected object are displayed, whether or not that parameter is animated. If a parameter is animated, a gray diamond appears next to the parameter in the list. If the keyframe appears solid, the keyframe exists at the current frame. If the keyframe appears outlined, that parameter is animated, but no keyframe is present at the current frame. These options greatly improve the management of keyframes, making it much easier to get to the parameters you want, without sorting through dozens of items. Flexible keyframe interpolation. Motion uses interpolation to set the parameter values for the frames between keyframes. Since keyframes are set to specific values, the in-between frames must be filled in with values to create a transition between the two keyframes. Motion uses a flexible selection of interpolation methods: Constant. Creates a constant value (a straight line) between keyframes with no interpolation. This results in sudden changes at keyframes. Linear. Creates a straight line (a uniform value) between keyframes with interpolation that creates sharp angles at large changes in value. Bezier. The default interpolation method; creates smooth curves that allow you to change the slope of the curve at the keyframe. This is the most common interpolation method, and it allows you to create animations in which an object eases in or out of a specific value. Ease In. Creates a flatter curve at the frames coming into the keyframe, resulting in the object slowing down as it approaches the keyframe. This is the equivalent of manually lengthening a points tangent handle. Ease Out. Creates a flatter curve at the frames going out of the keyframe, resulting in the object slowing down as it moves away from the keyframe. Extrapolation is another important keyframing component. The extrapolation of a curve determines the value of parameters before the first keyframe and after the last keyframe in the animation curve. This is a powerful function because you can have the curve repeat, ping pong, or progressively continue on after setting just a few keyframes, saving lots of tedious, repetitive work.

Working with Text

In Motion, text is created directly in the Canvas. Text objects have many of the same parameters as other objects, with a few exceptions. While text objects share position, opacity, rotation, and other parameters, they also have unique attributes, such as format, style, and layout parameters. Formatting options are the fundamental parameters used to control the font, size, kerning, tracking, and rotation of the entire text block or only the selected characters. The Font Type menu provides access to Apples unique animated LiveFonts. LiveFonts provide animated fonts that would take hours, if not days, to create by hand. Style settings mainly control the color and opacity of four main areas of the type: Face, Outline, Glow, and Drop Shadow. Styles can be saved in the Library and applied in any project. Layout parameters control margin, alignment, and justification as well as text-on-a-path options. In Motion, text can be placed and animated along a path by selecting either Line or Loop in the Path options. You can also place text on a path using the Motion Path and Align to Motion behaviors. In addition to animated text on a path, text objects can be animated like any other object using the basic motion or simulation behaviors or by setting keyframes. However, text objects also have their own behaviors for specific text-related animations, like animated tracking, type on, and other character-by-character animations. Using the Sequence behavior. The most powerful text animation behavior is the Sequence behavior. It allows you to hand-pick parameters, such as color, scale, or opacity, and animate those parameters in sequence across a text object.

Dynamic Particle Engine

Fireworks
Particle effects have become an essential tool in the motion graphics process. From creating animated backgrounds to real-world effects such as smoke and sparkles, particle effects creation in Motion is limited only by your imagination. You can use nearly any object in Motion, including QuickTime movies, as a particle shape. You can apply multiple objects to a single particle emitter to create more elaborate effects. Or you can drag a preset particle system into your project to use as designed, or customize it to better suit your project. As with any object in Motion, you can keyframe the particle emitter and particle cells or use behaviors to animate them more organically. Combining the power of behaviors with the particle system parameters allows you to easily create complex, limitless effects that are nearly impossible to accomplish any other way.

Bubbles

Rendering
Projects in Motion result in rendered files that can be edited into a video project, placed on a DVD as a motion menu, or uploaded to the web for streaming. Like the high performance it provides when you are creating a project, the Power Mac G5 also accelerates rendering, so the entire project pipeline in Motion is done at top speed. You can select one of the Export presets or select a QuickTime or image sequence format of your own and save it as a preset for later use. Motion also comes with Apples Compressor software, which allows batch encoding to MPEG-1, MPEG-2, MPEG-4, or any QuickTime codec, such as DVCPRO, Motion JPEG, or the lossless Animation codec.

Modulator

Integration with Final Cut Pro HD
Typically, video cut in a nonlinear editor ends up as a collapsed background track in a motion graphics application. Any changes to the video or audio tracks in the editor then have to be re-exported to the motion graphics application. This is tedious work, and important information such as cut points, layering information, or motion paths is often lost in the process. Not only can those types of information be sent intact to Motion from Final Cut Pro, but you can also open Motion directly from the Final Cut Pro Timeline.
Integration with DVD Studio Pro
Using video or animation with interactive menus is commonplace in DVD authoring because motion menus create a much more compelling experience for the DVD viewer. You can use Motion to create fluid motion graphics for motion menus inside DVD Studio Pro. But integration between the two applications goes much further than just rendering out a QuickTime movie. Once created, a project file can be dragged into DVD Studio Pro without any rendering. The project files are rendered on the fly in DVD Studio Pro. If an element in the motion menu needs to be adjusted, the open in editor menu function in DVD Studio Pro launches Motion, bypassing import and export. Most important, theres no need to encode or render after every change to preview the results. Updates from Motion are automatically updated in DVD Studio Pro.

Who Is Motion For?

Apples new motion graphics software, Motion was designed to be approachable for novice users and flexible for professional artists. Users can spend less time managing windows and palettes, and more time focused on the animation in the Canvas. Independent producers/editors and corporate video producers. Independent producer/editors and corporate video producers typically produce corporate promotional videos, internal training videos, installation multimedia content, and regional shortform infomercial-style content. People working in these companies typically handle the entire creative effort from concept to delivery, using multiple applications to get the job done. The templates, particle presets, LiveFonts, and behaviors in Motion can help independent and corporate producers create higher-quality motion graphics, without a huge learning curve. Editorial houses. These companies focus on offline and online editing for regional and national television commercials, promos, music videos, and corporate videos. Often they have one or two graphics workstations handling still and motion graphics. Motion can work as a stand-alone motion graphics application or can be integrated into Final Cut Pro, making it much easier to start a motion graphics task in the editing bay and pass it off intact to the graphics artists at any time. Motion graphics studios. These are generally small companies with a few talented artists who specialize in creating and producing graphics and titling for use in television promos, station IDs, corporate branding content, and opening titles for television programming or feature films. Motion graphics studios use desktop software to keep their overhead low and focus on the design rather than the tools. This approach typically limits the types of jobs they can take on, because client-driven sessions must move quickly without the typical delays involved in creating previews. The real-time performance of Motion changes all that. Now these studios can entertain projects where the client is present and wants to make changes quickly. Motion graphics studios can also move into a new realm of animation, using behaviors to be more creative and produce greater sophistication in their animations. Broadcast/Cable stations. These facilities produce content for television broadcast. They sometimes handle all aspects from production to air. The promotions department is the in-house production department that relies heavily on motion graphics, editing, and design. Fast turnaround, high-quality accelerated Primatte keying, and stunning particles make Motion perfect for broadcast and cable promotions departments.

Technical Specifications

User interface Unlimited tracks of movie clips, graphics, text, and particles Preset project sizes from DV to HD Apple-designed, professional-quality templates Ability to use elements from the templates as building blocks for your own projects Customizable non-square pixel support Customizable Toolbar that places your favorite tools at your fingertips Semitransparent Dashboards with onscreen controls for objects, behaviors, and filters Onscreen controls for position, rotation, pivot, skew, four corner pin, and crop Infinite sliders that provide an elegant solution for unlimited parameter ranges Mini-Timeline built into the Canvas that displays the track for the currently selected object Trim clips, filters, or animation behaviors via the mini-Timeline, keeping the main focus on the Canvas View color channels and alpha channels independently Display and customize title and action safe zones Display film zones for 2.35:1, 1.85:1, and 16:9 Canvas alignment tools including dynamic alignment guides, grids, and rulers Display and modify Bezier animation paths in the Canvas Precision zoom tool that zeros in on the specific area of the image you select Pen-and-tablet gesture-based interface Integrated File Browser for fast access to Finder content Play back previews of movies and audio directly from the File Browser RAM flipbook for viewing complex animations at full frame rate Save favorite settings, customized effects, gradients, text styles, and more in the Library
Timeline editing and layering Layer view that makes it easy to change the stacking order of each track, filter, or animation behavior Display opacity and blend modes in the Layer view for quick access on every track and layer Built-in search function for finding the layer, object, filter, or behavior in the Layer view Solo tracks for easier viewing and refinements Common bring to front and send to back functions Object grouping for applying compound transformations and filters Options to hide masks, filters, and behaviors for quicker navigation to media objects Timeline with drag-and-drop editing to choose between compositing and assembling multiple clips Insert and overwrite editing directly into the Timeline Trim, slip, and slide movie clips, graphics, text, filters, and animation behaviors Display and edit audio tracks in the Timeline or in the Audio Editor Unique layer containers that group multiple tracks for applying filters or animation to entire composites Markers that can be placed in the Timeline or on a specific clip with notes Animation Unique behavior animations for automated natural simulations like wind, gravity, and edge collision Sophisticated behaviors like attract, repel, and orbit, which automatically create multilayered animations Text-specific behaviors for easily creating complex title animations without keyframes Parameter behaviors that automate the animation of any parameter using oscillate, wiggle, and more Design your own custom behaviors by picking and keyframing a set of parameters

Convert behavior animations to keyframes Semitransparent Dashboards with onscreen controls for objects, behaviors, and filters Complete keyframe-based animation tools Keyframe Editor with Bezier, Linear, Constant, and Ease In/Ease Out interpolations Copy and paste keyframes from different tracks and parameters Lock keyframe position Keyframe settings for ping pong, repeat, and progressive View audio waveforms against animation curves Record Animation feature with keyframe thinning for recording animations on the fly Save curve sets for quick access to common parameters View animated curves for easier navigation Drag parameters from the Inspector directly to the Keyframe Editor to quickly view a curve View keyframes in the Timeline for quick positioning Enable/Disable keyframe and behavior-based animations for easily comparing different results Particle engine Sprite-based particle engine with accelerated performance Particle presets for easy access to sparkles, fire, smoke, and more Apply multiple objects or video clips as emitters Animate emitters and cells independently Intuitive graphical Dashboard controls for commonly used particle parameters Save newly created particles in the Library for reuse in other projects Choose between point, line, circle, geometry, and image emitters Control birth rate, life, speed, angle, spin, scale, and gradient colors for particle cells Scale particles over their life or add behaviors like orbit and vortex for amazing results with little effort
Title design Vector-based text engine for creating clean type at any size Support for Asian, Cyrillic, and other Unicode system fonts Support for Apple LiveFonts for unique font animations Format text using size, rotation, slant, tracking, kerning, and more Select from common set of blend modes, including normal, multiply, screen, and add Save styles for reuse in other projects Customize text styles with control over the face, outline, glow, and drop shadow Use justification, text block alignments, and margins to accurately lay out text Type-on and text on a path layout/animation options Text field in Inspector that makes it easy to edit text even if text is obscured in the Canvas Fill text with solid or multipoint gradients Choose between linear and radial gradients Apply static images or video clips as textures to text faces Control textures using hold frame, offset, wrap modes, and opacity Accelerated filters and effects Over 90 accelerated filters for real-time interactivity More than 10 blur filters, including Gaussian, Channel Blur, Radial Blur, and Defocus Simple and bevel borders More than 15 color correction filters, including Color Balance, Levels, Color Reduce, and Threshold Over 20 distortion filters, including Bump Map, Bulge, Glass Distortion, Ripple, and Scrape

Support

Motion comes with 90 days of toll-free telephone support. In addition, Apple offers a range of professional support options, including the AppleCare Professional Video SupportLine. AppleCare Professional Video SupportLine The AppleCare Professional Video SupportLine can help you keep your project running smoothly, whether you are editing HD video, designing motion graphics, or authoring custom DVDs.1 With this product, one authorized contact can call2 or email3 the Apple Professional Video Technical Support team for one full year. Apples support team is on call 12 hours a day, 7 days a week. These experts provide one-stop support for Final Cut Pro, Final Cut Pro HD, Motion, DVD Studio Pro, and Soundtrack. Also included is troubleshooting for Apple hardware and for interconnectivity between your Mac or Xserve and an Xserve RAID,4 as well as assistance with DV, SD, and HD video input/output over FireWire. For more information or to purchase, visit www.apple.com/support/products/provideo.

For More Information

For more information about Motion, visit www.apple.com/motion.
1Details of support coverage and eligible Apple technologies are described under the terms and conditions at www.apple.com/ support/products/provideo. 2Telephone numbers and hours of operation may vary and are subject to change; local telephone fees
may apply. 3Access to web-based resources requires the use of a compatible Internet service provider; fees may apply. 4Hardware repairs that are not covered under warranty require an extended service contract, such as the AppleCare Protection Plan. 2004 Apple Computer, Inc. All rights reserved. Apple, the Apple logo, DVD Studio Pro, Final Cut Pro, FireWire, Mac, Macintosh, Mac OS, PowerBook, Power Mac, QuickTime, and Xserve are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. Finder is a trademark of Apple Computer, Inc. AppleCare is a service mark of Apple Computer, Inc., registered in the U.S. and other countries. Adobe is a trademark or registered trademark of Adobe Systems Incorporated in the U.S. and/or other countries. PowerPC is a trademark of International Business Machines Corporation, used under license therefrom. Other product and company names mentioned herein may be trademarks of their respective companies. April 2004 L302959A

Motion 3 Supplemental Documentation

K Apple Inc.

Copyright 2007 Apple Inc. All rights reserved. Your rights to the software are governed by the accompanying software license agreement. The owner or authorized user of a valid copy of Final Cut Studio software may reproduce this publication for the purpose of learning to use such software. No part of this publication may be reproduced or transmitted for commercial purposes, such as selling copies of this publication or for providing paid for support services. The Apple logo is a trademark of Apple Inc., registered in the U.S. and other countries. Use of the keyboard Apple logo (Shift-Option-K) for commercial purposes without the prior written consent of Apple may constitute trademark infringement and unfair competition in violation of federal and state laws. Every effort has been made to ensure that the information in this manual is accurate. Apple is not responsible for printing or clerical errors. Note: Because Apple frequently releases new versions and updates to its system software, applications, and Internet sites, images shown in this book may be slightly different from what you see on your screen. Apple Inc. 1 Infinite Loop Cupertino, CA 950142084 408-996-1010 www.apple.com
Apple, the Apple logo, Final Cut, Final Cut Pro, Final Cut Studio, Mac, and Mac OS are trademarks of Apple Inc., registered in the U.S. and other countries. Finder is a trademark of Apple Inc. Other company and product names mentioned herein are trademarks of their respective companies. Mention of third-party products is for informational purposes only and constitutes neither an endorsement nor a recommendation. Apple assumes no responsibility with regard to the performance or use of these products.

Contents

Chapter 1
3D Compositing Real-World Coordinates 3D Transform Tools 3D Workspace and Views Cameras 2D and 3D Group Interaction Lighting Motion Tracking About Motion Tracking How a Tracker Works Motion Tracking Behaviors Shape Track Points Behavior Track Parameter Behavior Motion Tracking Workflows Adjusting the Onscreen Trackers Strategies for Better Tracking Motion Tracking Behavior Parameters

Chapter 2

3D Compositing
Create sophisticated 3D motion graphics with depth and new levels of realism in a multiplane compositing environment. Move objects in three dimensions and add cameras that change your scenes point of view.
3D compositing introduces a number of new concepts to the art of motion graphics. At first glance, these concepts might seem daunting. But you already have an advantage: Because you move around in a real three-dimensional world, youll likely find the virtual 3D world of the Motion Canvas intuitively familiar.

Real-World Coordinates

The position of any object in the real world can be described using a simple coordinate system. For example, you could describe your computers position as being four feet across from the door, three feet up from the window, and five feet in front of the floor. In a coordinate system, each of the three numbers used to describe an objects position corresponds to a coordinate axis. The place where the zero values along each axis meet is called the origin. In this example, the X equals 4, Y equals 3, and Z equals 5.

m Choose the type of 3D overlay you wish to show or hide from the View pop-up menu in the Toolbar. 3D View Tools Camera Menu The Camera menu, located in the upper-left corner of the Canvas, lists the currently active camera view. Choose from a list of reference cameras and scene cameras, as well as several view-related commands.
The Camera menu is divided into three sections: The top section allows you to select the currently active camera as well as any other scene cameras you have added to the project. If a scene contains more than one camera, the camera that is topmost in the Layers list and in the Timeline at the current frame is the active camera. For more information on scene cameras, see Cameras on page 26. The middle section allows you to select one of the default reference cameras: Perspective, Front, Back, Left, Right, Top, Bottom. The bottom section allows access to two commands: Reset View, which resets a camera to its default view, and Frame Objects, which frames the selected objects in the active view. If no objects are selected, Frame Objects resets the reference camera to view all the objects in the scene.
3D View Tools The 3D View tools can be used to control both reference and scene cameras.

Orbit tool

Scene camera indicator

Pan tool

Dolly tool
The scene camera indicator appears to the left of the 3D View tools only when a scene camera is the active camera. There are three 3D View tools: Pan: Drag in this box to move the camera along the X and Y axes relative to the current view. Orbit: Drag in this box to orbit the camera around the currently selected scene object. If nothing is selected, the camera orbits around its focal plane. For more information on the camera focal plane, see Camera Controls on page 26. 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 one of the orthogonal reference cameras, an asterisk appears next to the views name in the Camera menu, indicating that the view is no longer a true orthogonal view. Dolly: Drag in this box to dolly the camera, moving it along the Z axis relative to the current view. Important: Double-clicking a 3D View tool resets all parameters that can be affected by the tool.

3D View Tool Shortcuts

It is possible to use the Pan, Orbit, and Dolly tools with keyboard commands and a three-button mouse: 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.
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 the reference (orthogonal and perspective) cameras.

Angle of View = 45 Angle of View = 80 Angle of View = 45 Angle of View = 80

Viewpoint camera

Near Plane: A slider and value slider that set the distance at which the camera begins to see objects. Objects closer to the camera than this distance are not rendered from this cameras point of view. Far Plane: A slider and value slider that set the distance at which the camera ceases to see objects. Objects further from the camera than this distance are not rendered from this cameras point of view. Near Fade: A slider and value slider that set the softness factor for the near plane. The softness factor sets a boundary range over which near objects fade in. Far Fade: A slider and value slider that set the softness factor for the far plane. The softness factor sets a boundary range over which far objects fade out.

Scaling a Camera

You can use the Scale parameter in the Properties tab of the Inspector to scale what a camera sees. Changing the Scale value does not affect a cameras Angle of View parameter. Changing the Scale value only affects Framing cameras. Imagine if you shrank down to only a few inches tall. While the world around you hasnt actually changed size, it would appear, to you, to be much larger. Similarly, if you grew to 50 feet tall, the world would seem smaller, even though it hasnt changed. Scaling a camera up or down has the same effect.
Positioning Cameras Cameras share the same transform properties as any other object in Motion and can be positioned in all the same ways: by using the onscreen controls and by editing parameters in the HUD or Inspector. For more information on the onscreen controls, see 3D View Tools on page 21. Additionally, cameras can be positioned using the Walk Camera tool. Note: As a convenience, it is possible to move an orthogonal camera view to display the scene from a position and orientation other than its default. Walk Camera Tool The Walk Camera tool allows you to position the camera in 3D space as you would in a video game, using a keyboard-and-mouse navigation method.

Walk Camera tool

To use the Walk Camera tool: 1 Select the Walk Camera tool in the Toolbar. The pointer changes to indicate that the Walk Camera tool is active. 2 Use the Up, Down, Right, and Left Arrow keys to move the camera in 3D space; hold down the Option key in conjunction with the arrow keys to move the camera more slowly. 3 Drag in the Canvas to orient the camera. Important: A camera cannot be nested in a 2D group. If you try to create or add a camera to a 2D group, the following dialog appears:

The analyzed track, contained in the Analyze Motion behavior, can now be loaded into other tracking behaviors (via a pop-up menu in the HUD or Inspector of the other tracking behaviors).
Tracking behaviors pop-up menu in the Match Move HUD
Note: The Stabilize behavior can only load tracks from other Stabilize behaviors.
Loading Data into a Behavior
If the project contains any footage or animated objects when a Match Move, Stabilize, or Unstabilize behavior is applied, the nearest footage or animated object below the behavior in the Layers list is automatically applied to the behavior and appears in the behaviors Source well. This data is overwritten once a tracking analysis is done, or you choose another track from the tracking behaviors pop-up menu. You can assign an animated object or tracking data to a tracking behavior in four ways: Choose another tracking behavior from the tracking behaviors pop-up menu. Drag a tracking behavior or footage object to the Source well in the HUD or Behaviors tab of the Inspector. Drag an animated object to the Source well in the HUD or Behaviors tab of the Inspector. The referenced animated object is applied as the source for the current behavior. This option only applies to the Match Move and Track Points behaviors. Drag a tracking behavior or footage object directly to the current tracking behavior in the Layers list. The referenced tracking behavior or footage object is assigned as the source for the current behavior. Note: To clear a Source well, drag the item away from the well and release the mouse button.

Match Move Workflows

This section provides a general overview of several Match Move behavior workflows, including four-corner pinning. For a full description of the Match Move parameters, see Match Move Controls on page 100. To use a Match Move behavior, you need a minimum of two objects in your project: a background or source element and a foreground or destination object. The source object provides the movement as either an animated object or a recorded track. The movement from the source object is applied to the destination object.
Using Match Move to Track a Background Element The Match Move behavior is applied to the foreground element and tracks a feature in the background element. This data is applied to the foreground element so that it matches the movement of the tracked feature in the background clip. To match move a foreground object using the Match Move behavior: 1 Play your background clip several times to determine a good track point. 2 Apply a Match Move behavior to a foreground element. A single tracker (the Anchor checkbox in the Behaviors tab of the Inspector) is activated. The Anchor tracker records position data. 3 Determine if you need to activate additional trackers for two- or four-point tracking. For two-point tracking, select the Rotation-Scale checkbox in the Behaviors tab of the Inspector (under the Anchor checkbox). For four-point tracking, choose Four Corners from the Type pop-up menu in the Behaviors tab of the Inspector and proceed to Four-Corner Pinning with Match Move on page 63. 4 Go to the frame where you want the track to begin. 5 In the Canvas, drag the tracker (or trackers) to the point (or points) you want to track. As you drag the tracker in the Canvas, the region around the tracker becomes magnified to help you find a suitable reference pattern.

Note: As with all behaviors, you can drag or copy (Option-drag) a Track Points behavior to a new shape in the Layers list. When you apply the behavior to a new shape, the behavior is reset.
Using an Object as the Animation Source This section provides a brief overview of using the Track Points behavior to apply the animation of an object to the vertices of a shape or mask. For this workflow, your project must contain an object that is animated with keyframes or behaviors. To apply the animation of an object to the control points of a shape or mask: 1 Apply the Track Points behavior to the object you want to animate. If an animated object exists beneath the object with the applied Track Points behavior in the Layers list, the animation of the lower object is automatically applied to the Track Points behavior, as displayed in the Source well in the HUD and Inspector. In this example, the Track Points behavior is applied to the Bezier shape, and a line used as the source animation is animated with the Spin behavior.
Source object Bezier shape with applied Track Points behavior HUDs Source well displays the referenced source object.
Note: To reference another animated object, drag that object to the Track Points behaviors Source well or directly to the behavior in the Layers list. The spinning animation of the line is applied to the Bezier shape. The tangents remain aligned at their original angles along the shape.
2 To align the tangents to the transformation of the source object, turn on the Align Tangents checkbox in the Behaviors tab of the Inspector.
The Bezier shape changes form because the vertex tangents match the transformation of the source animation.
Note: By default, Attach to Source is chosen from the Transform pop-up menu. For more information on the Transform pop-up menu, see Track Points Controls on page 109.

Track Parameter Workflow

The Track Parameter behavior allows you to track a position parameter of a filter to a reference feature of a clip, or to apply existing tracking data to a position parameter of a filter. For example, you can track the center of a Light Rays filter to a moving light in a clip. Note: This behavior is only applicable to filters with position parameters, such as Scrape, Ring Warp, Light Rays, Slit Tunnel, and so on. For a full description of the Track Parameter behavior, see Track Parameter Behavior Controls on page 110. To use the Track Parameter behavior: 1 In the Canvas, position the center point of the filter over the reference pattern. In this simple example, the center point of a blur is positioned over the license plate of a car.

2 In the Behaviors tab of the Inspector, use the Look Ahead Frames slider or value slider to specify how many frames you want the tracker to look ahead. Note: The maximum amount of frames for the Look Ahead Frames slider is 10 frames. However, you can enter a larger frame amount using the adjacent value slider. 3 While holding down the Command key, click the tracker in the Canvas, then drag in the direction the reference pattern is moving in the clip. As you Command-drag the track point, an inset displays a magnified view of the frame specified in the Look Ahead Frames parameter.
4 When the look-ahead tracker is positioned on the reference pattern, release the mouse button. Note: Look Ahead Frames can be used when tracking in reverseyou are looking at previous frames rather than future frames.
Tracking Images with Perspective, Scale, or Rotational Shifts
For images with significant change in size and angle, you can try a few different strategies. First, try using a larger search area. Although Motion does not allow you to adjust an onscreen tracking search area, you can increase its default search size using the Search Size parameter in the Behaviors tab of the Inspector. Click the tracks (such as Track 1) disclosure triangle to display the Search Size parameter. A second strategy is to lower the Fail Tolerance value. With a lower Fail Tolerance value, the tracker is more likely to find a false match. With a higher value, the tracker is more strict in finding a match. Click the tracks disclosure triangle to display the Fail Tolerance parameter. Another strategy is to jump to the midpoint frame of the clip and track forward to the end frame of the clip. Then return to the midpoint frame and track backward to the beginning of the clip.
Tracking Obscured or Off-Frame Points
In addition to experimenting with different tracker parameter settings, there is a basic technique to correct track points that are obscured by moving offscreen or by an object passing in front of them. The following sequence is a simple example of a candidate for offset tracking. As the car moves forward, it passes a tree that temporarily obstructs the reference pattern.
When the reference pattern becomes obscured, the Offset Tracker checkbox lets you move the tracker, picking a new reference pattern in a different area from the original reference pattern. The offset between the original reference pattern and the new pattern is calculated to maintain continuity in the resulting track path. In the following example, the track is obscured by a tree, so the tracker is moved to a nearby reference pattern and tracking continues until the original pattern reappears. Even though one region is examined, the points are saved in another region. The second tracking pattern should travel in the same direction as your original pattern. To offset (move) the onscreen tracker control to an unobstructed area of the image: 1 Go to the frame where you want to begin the offset track.

When a track is lost during an analysis, Motion automatically jumps back to the frame at which the track failed. The bad track point is identified by an x in the Canvas.
You can use the bad track point, or use any point prior to the failed track frame, to move the tracker and select a new reference feature. In the Canvas, the track point at the current playhead position is emphasized.
The track point at the current playhead is highlighted.
2 Turn on the Offset Track button in the HUD or Behaviors tab of the Inspector.

Offset Track button

3 Drag the tracker to a new position in the Canvas. 4 Click Analyze to restart the motion analysis. Motion continues to keyframe the trajectory of the original track point, based on the movement of the new offset reference pattern. Note: When you use Offset Track, make sure that the new reference pattern is as close to the original tracking feature as possible. Ideally, the offset feature should share the same motion as the originally tracked feature and appear on the same subject.

Tracking Retimed Footage

When working in a project that includes tracking and retiming tasks, use the following guidelines for more successful results: Because the Motion tracker analyzes in a projects frame rate, ensure that the frame rate of the footage you plan to track matches the frame rate of the project. For example, when you want to track 24 frames-per-second (fps) footage, your projects frame rate should be 24 fps. Once the tracking analysis is completed, retime the clip using the Retiming parameters in the Media tab of the Inspector or the Retiming behaviors. Do not retime the footage prior to the tracking analysis. Do not retime the footage, perform a tracking analysis, then retime the footage again. This may adversely affect your track. Note: If you really want to track a clip after it has been retimed, it is recommended that you retime and export the clip, then import the clip and perform the tracking analysis.
Troubleshooting Stabilizing Effects
If the output of a stabilize operation is unsatisfactory, there are several things you can try to improve the result. Stabilize Wants to Keep It Real The automatic motion analysis (analysis without trackers) used by the Stabilize behavior works best with real images. Artificial images, such as those with no texture, are not recommended for use with the Stabilize behaviors automatic mode. Shots with very strong pans are also not recommended. Images with redundant camera data yield very good results. Adding Trackers to the Stabilization If a stabilized clip has a particularly bumpy section that is not getting smoothed, you can add trackers to noncontiguous sections of a clip. Any stabilize data from the automatic motion analysis is overwritten by the portions of the clip that are analyzed using the onscreen trackers.

To use a tracker for a portion of a stabilize operation: 1 Once the Stabilize motion analysis is complete, play the clip to determine what section you want to track. Important: Always analyze the entire clip before adding any trackers. The Stabilize behavior needs meaningful dataa large range of framesto yield the best results. 2 Set an Out point for the tracker analysis: Position the playhead at the frame you want to stop the analysis, then choose Mark > Mark Play Range Out (or press Command-Option-O). 3 Position the playhead at the frame where you want to start the track, then click the Add button in the Inspector. 4 Position the tracker on the reference pattern you want to track in the Canvas, then click the Analyze button in the HUD or Inspector. The specified play range is tracked, creating track points in the Canvas and tracking keyframes in the Keyframe Editor. Note: When using this strategy to track multiple noncontiguous sections of the clip, use the same tracker whenever possible to simplify the track and to avoid clutter in the Keyframe Editor. This strategy is not recommended for small portions of the clip, such as using the default stabilization for 25 frames, a tracker analysis for 10 frames, the default stabilization for 10 frames, and so on. Changing the Smoothing Parameters If youre trying to smooth the motion in a clip, you should first try adjusting the smoothing parameters. These parameters include Translation Smooth, Rotation Smooth, and Scale Smooth. This can be accomplished without having to reanalyze the clip. Reanalyzing at a Higher Quality When analyzing, choose Better from the Quality pop-up menu in the Behaviors tab of the Inspector. This may take longer, but the quality of the analysis is higher. Editing the Analysis Data If neither of the prior solutions helps, look at the Confidence parameter in the Keyframe Editor, then look for frames where the Confidence parameter falls to very low values. If the image transformation at these frames stands out, you can convert the Stabilize behavior to keyframes. This creates transform keyframes on the stabilized object, which can then be edited in the Keyframe Editor. Try deleting any keyframes that create unusual spikes at the frames where the Confidence curve value was low. For more information on converting behaviors to keyframes, see Converting Tracks to Keyframes on page 84.
Removing Black Borders Introduced by Stabilizing
When you use the Stabilize behavior, the resulting transformations that are made to smooth or stabilize the shot cause moving black borders to appear around the edges of the image. While this is necessary to achieve the desired effect, you probably dont want these black borders to appear in the final shot. There are a few ways you can choose to handle this border. Zooming the Clip You can zoom the clip using the Borders pop-up menu in the Behaviors tab of the Inspector. To zoom the clip: m In the Behaviors tab of the Inspector, choose Zoom from the Borders pop-up menu. The clip is expanded to the full size of the Canvas, preventing black borders from appearing around the edges of the stabilized clip. Scaling the Output Image to Fit the Original Frame Size If you need to output the resulting image at the same size as the original, the quickest fix is to scale the image after the Stabilize analysis. Youll need to enlarge the image to the point where all instances of black borders fall outside the edges of the frame. The disadvantage of this method is the resulting softening of the image, depending on how much it must be enlarged. To scale the stabilized image: 1 Select the clip and click the Properties tab of the Inspector. 2 Adjust the Scale parameter so that the borders no longer appear at the edges of the clip. Distorting the Edges One last suggestion is to experiment with different filters to stretch the edges of the image to fill any gaps. For example, you can experiment with the Scrape filter to stretch out the edges of the image. This solution is highly dependent on the type of image and may introduce other image artifacts that may or may not be acceptable.

Tracking and Groups

There are a few special considerations when tracking groups. Corner-Pinning Groups You can corner-pin groups using the Match Move behavior. Use the following guidelines for the best results: To corner-pin a 2D group, it is recommended that you turn on the Fixed Resolution checkbox in the Group tab of the Inspector. To corner-pin a 3D group, you must turn on the Flatten checkbox in the Group tab of the Inspector. If Flatten is not enabled for the group, the Four Corners option will not be available from the Type pop-up menu in the Match Move parameters. Once Four Corners is chosen from the Type pop-up menu, Four Corner is enabled in the Properties tab of the Inspector, causing the group to be rasterized. For more information on rasterization, see Rasterization on page 37. Using either of the above techniques may still result in dynamic resizing. If you receive unwanted results, export the group, import the group, then corner-pin the object.
Parallax in 3D Groups When match moving 3D groups that contain objects that are offset in Z space, parallax is simulated. Parallax is the apparent shift of an object against a distant background caused by a shift in perspective, such as a change in camera position. To remove a parallax effect, turn on the Flatten checkbox for the tracked group in the Group tab of the Inspector.

Saving Tracks

As with all behaviors in Motion, you can save tracking behaviors to the Library. Keep in mind, however, that a tracking behavior needs to reference the tracked source object. Therefore, it may make more sense to save the entire group that contains the tracking behavior, as well as the source footage, to the Library. To save a group to the Library: 1 Open the Library and select the category into which you want to save the group, such as the Favorites category. 2 Drag the group that contains the tracking behavior and its source (tracked) footage from the Layers tab, Timeline, or Inspector into the stack at the bottom of the Library. The group is added to the Library category. To save a behavior to the Library: 1 Open the Library and select the Favorites, Favorites Menu, or Behaviors category. 2 Drag the customized behavior you want to save from the Layers tab, Timeline, or Inspector into the stack at the bottom of the Library. When you save a customized item to the Library, it is saved in the /Users/username/ Library/Application Support/Final Cut Studio/Motion/Library folder. For more information on saving behaviors to the Library, see Chapter 5, Using Behaviors, in the Motion 3 User Manual. To add a group to a project from the Library: 1 Open the Library and select the category that contains the group. 2 Do one of the following: To nest the group in an existing group, drag it to the existing group in the Layers tab. To create a new group, drag it to an empty area in the lower portion of the Layers tab. The group is added to the project. To apply a behavior to a clip from the Library: 1 Open the Library and select the Favorites, Favorites Menu, or Behaviors category. 2 Drag the behavior to the clip in the Layers list, Timeline, or Canvas.

To reference another tracking behavior in a project: 1 Add an Analyze Motion, Match Move, Stabilize, or Unstabilize behavior. 2 In the tracking behaviors HUD or Inspector, choose a track from the tracking behaviors pop-up menu. The track is applied to the tracking behavior.
Motion Tracking Behavior Parameters
The following section provides a detailed description of the parameters available in the different tracking behaviors. Note: Cloned objects cannot be tracked.

Analyze Motion Controls

The Analyze Motion behavior is designed for use with footage (a movie or image sequence). This behavior can be thought of as a traditional correlation trackeryou position an onscreen tracker on a reference pattern on a clip. The movement of the clip at the specified reference point is analyzed, and the analyzed data is saved in the behavior. The recorded data can then be applied to other objects in the project. The Analyze Motion behavior does not transform the input image. It is used only to generate tracks that can be referenced by the Match Move and Stabilize behaviors. Note: Analyze Motion cannot reference other tracking behaviors. Important: The Analyze Motion behavior can only be applied to footage objects (a QuickTime movie or image sequence). Parameters in the HUD The Analyze Motion HUD contains controls to start the motion track (the Analyze button), reverse the direction of the track (the Reverse checkbox), and to specify an offset track (the Offset Track checkbox). Offset tracking allows you to reposition the tracker at a new reference pattern. The HUD parameters, which also appear in the Inspector, are described below. Parameters in the Inspector Movement: The Movement parameter contains controls to begin the tracking analysis and to specify the direction of the analysis. Analyze: Click the Analyze button to begin the motion tracking analysis. Once Analyze is clicked, a status window appears that displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc. The start of the track is based on the current playhead position, rather than the start of the behavior in the Timeline.
Reverse: When the Reverse checkbox is turned on, the clip is analyzed from the current playhead position to the first frame of the clip (or the first frame of the tracking behavior). Note: You must move the playhead to the frame from which you want to begin the reverse analysis. Tracker: Click the Add button to add trackers to the Analyze Motion behavior. By default, one tracker is available. New trackers are added at the center of the Canvas. For a description of the Tracker Preview, Offset Track, Auto-Zoom, Auto-Zoom Mode, Look Ahead Frames, and track list parameters, as well as the tracker subparameters, see Tracker Controls on page 112. For information on using the Analyze Motion behavior, see General Motion Tracking Workflow (with Analyze Motion) on page 55.

Match Move Controls

The Match Move behavior can be applied to many different object types, including groups, cameras, shapes, particle emitters, and so on. Important: When applying the Match Move behavior to a group, make sure that the source footage you are tracking does not reside within the group with the applied Match Move behavior. Parameters in the HUD The Match Move HUD contains controls to load an animated object or tracking data from another tracking behavior into the behavior (via the Source well or the tracking behaviors pop-up menu), to start the motion analysis (the Analyze button), to reverse the direction of the track (the Reverse checkbox), to offset the track (the Offset Track checkbox), to specify whether the destination object is four-corner pinned (the Type pop-up menu), and to choose what transform is applied to the destination object (the Adjust parameter). The HUD parameters, which also appear in the Inspector, are described below. Parameters in the Inspector Source: Drag the source object for the match move to this well. The source object can be another tracking behavior, an animated object, or a footage object. When a Match Move behavior is added to an object, the nearest animated object, recorded track, or footage object beneath the behavior in the Layers list appears in this well. To clear a Source well, drag the item away from the well and release the mouse button. When any non-footage object (such as a shape or mask) is dropped in the Source well, the trackers are no longer available in Match Move. Note: When the Match Move behavior is applied to a mask, the masked object is automatically selected as the source.
Tracking behaviors pop-up menu: Choose from a list of tracking data (from other tracking behaviors) within the project. Movement: The Movement parameter contains controls to begin the tracking analysis and to specify the direction of the analysis. Analyze: Click the Analyze button to begin the motion tracking analysis. Once Analyze is clicked, a status window appears that displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc. The start of the track is based on the current playhead position, rather than the start of the behavior in the Timeline. Reverse: When the Reverse checkbox is turned on, the clip is analyzed from the current playhead position to the first frame of the clip (or the first frame of the tracking behavior). Note: You must move the playhead to the frame from which you want to begin the reverse analysis. Type: This pop-up menu allows you to choose between one-point, two-point, or fourpoint tracking. Transformation: This option allows one-point or two-point tracking, transforming the destination object. Four Corners: This option enables four-point tracking, corner-pinning the destination object. When this option is chosen, the Direction and Adjust parameters are no longer available. Note: The Four Corners option is not available when Match Move is applied to a 3D group. To corner-pin a 3D group, turn on the Flatten checkbox in the Group tab of the Inspector. Direction: This pop-up menu allows you to specify the dimension to which the recorded movement is applied to the destination object: X and Y, only X, or only Y. Transform: This pop-up menu allows you to choose how the destination object (the object to which the Match Move behavior is applied) moves. Attach to Source: This option glues the foreground object to the recorded track or animation source. Use Attach to Source when the source object is scaling or rotating, and you want the destination object to stick to a particular spot on the source object. Any animation that existed on the destination object prior to applying the track is erased. Note: Although the destination object is attached to the movement of the source object, the position of the destination object can be changed (offset from the source object). The destination object cannot be scaled or rotated.

Track Parameter Behavior Controls
The Track Parameter behavior allows you to track a position parameter of a filter to a reference feature of a clip, or to apply existing tracking data to a position parameter of a filter.
Parameters in the HUD The Track parameter HUD contains controls to load a tracking behavior into the behavior (via the Source Behavior well or the tracking behaviors pop-up menu), to specify how the position parameter moves, to start the motion analysis (the Analyze button), to reverse the direction of the track (the Reverse checkbox), and to offset the track (the Offset Track checkbox). The HUD parameters, which also appear in the Inspector, are described below. Parameters in the Inspector Source: Drag the source object for the track to this well. The source object can be another tracking behavior or a footage object. Drag a behavior to the Source well to load that track into the Track Parameter behavior. To clear a Source well, drag the item away from the well and release the mouse button. Note: An animated object cannot be used as a source for the Track parameter behavior. Tracking behaviors pop-up menu: Choose from a list of tracking data (from other tracking behaviors) within the project. Transform: This pop-up menu allows you to choose how the filters position parameter moves. Attach to Source: This option glues the center of the filter to the recorded track or animation source. Use Attach to Source when the source object is scaling or rotating, and you want the filters center to stick to a particular spot on the source object. Any animation that existed on the filters center prior to applying the track is erased. Note: Although the filters center is attached to the movement of the source object, the center can be offset from the source object. Mimic Source: This option allows the filters center to mimic the recorded track or animation source. Any animation that existed on the filters center prior to applying the track is added to the track. Note: As with Attach to Source, the filters center can be offset from the source object. Movement: The Movement parameter contains controls to begin the tracking analysis and to specify the direction of the analysis. Analyze: Click the Analyze button to begin the motion tracking analysis. Once Analyze is clicked, a status window appears that displays the tracking progress. To stop the analysis, click the Stop button in the status window or press Esc. The start of the track is based on the current playhead position, rather than the start of the behavior in the Timeline. Reverse: When the Reverse checkbox is turned on, the clip is analyzed from the current playhead position to the first frame of the clip (or the first frame of the tracking behavior).

Stop: Stops the analysis when the tracker loses the reference pattern. You can also click the Stop button in the tracking progress dialog or press Esc to stop an analysis. Predict: The tracker predicts a new search area without creating keyframes until it finds a match for the reference pattern. This is excellent for tracked objects that pass behind foreground objects. Predict and Key: If a failure is detected, the tracker predicts the location of the keyframe based on a vector of the last two keyframes, and continues tracking in the new area. Dont Predict: The tracker remains in its position and searches for subsequent matches as the clips frames progress. While searching for a match, the tracker does not create keyframes. Use Existing Keyframes: This allows you to manually create keyframes along your track path. You then return to the start frame and start tracking. The search pattern looks for the motion path created by the existing keyframes. Color: Click or Control-click the color well to set a new color for the onscreen tracker. You can also click the eyedropper and select a color in the Canvas. The default tracker color is yellow. When a tracker is selected, its center point is white and the search area frame is the color set in the color well. To adjust the individual color channels, including the alpha channel, click the disclosure triangle.