Motion 3 Supplemental Documentation

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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.
Coordinates and Object Position in Space
The location of an object in Motion can be described in these terms as well. The coordinate system used by Motion specifies the center of the Canvas as 0, 0, 0. Moving an object to the left subtracts from the X value, while moving to the right adds to the X value. Moving an object up adds to the Y value, and moving an object down subtracts from the Y value. Moving an object closer adds to the Z value, while moving further away subtracts from the Z value. The main difference between a 2D scene and a 3D scene is that in a 3D scene, you can change your point of view, so that moving an object up doesnt 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, which span the default Canvas from left to right (X) and top to bottom (Y). 3D Conventions There are a few conventions commonly used to discuss and display threedimensional environments. 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.

Chapter 1 3D Compositing

3D Transform Tools
There is no inherent difference between 2D and 3D project files in Motion. At any point, you may decide to start working with groups or layers in 3D. Doing so requires no preplanning on your part; in fact, its possible to go back and forth between manipulating objects in 2D and 3D space. This section covers the tools you can use to move objects around in the Canvas.

Group A on top in Layers list
Result of 2D composite in Canvas
If you were to move Group A below Group B in the Layers list, Group B would be rendered on top of Group A.
Group B on top in Layers list

Result in Canvas

The Layers list also shows object relationships in terms of parenting. The parent-child relationship is displayed in the Layers list through the use of indenting and disclosure triangles.
Parent of all objects beneath it Children of Group Parent of Elephant

Child of Elephant Group

The Layers list is not the only indicator of order when considering objects in 3D. When depth-sorted, an object can be at the bottom of the Layers list and yet appear to be on top of everything else in the Canvas, because of the objects position relative to the current camera. The most common way to adjust depth order is to change the Z position of a layer or group. Important: The children of 3D groups are composited in depth order by default.

Layers list

Objects sorted in depth order in Canvas
With the 3D groups above, objects are composited in depth order; their position in the Layers list does not correlate to their position in 3D space relative to the camera. In the above example, the Blue A group is above the Red A group in the Layers list but it appears behind the Red A group in the Canvas because it is depth-sorted. The same principle applies to the Blue B group and the Red B group.
3D Transformations in 2D Groups
All objects have 3D transformations available, even when in 2D groups. All can be rotated around any axis and moved along any axis. Keep in mind that objects in 2D groups are not depth-sorted, and cannot intersect, regardless of their position in 3D space.
2D parent group in the Layers list
Groups sorted in layer order in Canvas
Both of these groups are positioned at the same point in 3D space, but because they are layer-ordered, group A does not intersect with group B. If you change the parent group to 3D, the two groups will intersect.
3D parent group in the Layers list
Groups sorted in depth order in Canvas
Note: If two groups are coplanar (occupy the same plane), they are composited in layer order, regardless of whether the objects parent is a 2D group or 3D group. In a 2D composite, all objects are coplanar.

3D Workspace and Views

In a 3D workspace, everything is seen from the viewpoint of a camera. The default views presented in the 3D workspace are reference cameras that can be used and manipulated to help place and animate objects but are not used for rendering output. If you wish to render specifically from one of the camera views, you must create a scene camera. For more information on cameras, see Cameras on page 26.
There are several different view layouts, with each layout consisting of an arrangement of viewports. But each layout works exactly the same as another, and the views are manipulated in precisely the same way no matter how many views there are. Each viewport displays the scene from the point of view of a camera. Reference camera views have a specific default position and orientation. There are two types of default reference cameras: Orthogonal Perspective An orthogonal camera views the scene by looking straight down one of the world axes: X, Y, or Z. The default orthogonal cameras do not actually appear in the Layers list, Timeline, or Canvas. 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.

No rotation

Orthogonal cameras do not show perspective. Perspective camerasand scene cameras that you add to a projectdistort the view the way a real-world camera would.
Rotated in orthogonal camera view
Rotated in perspective camera view
In order to have access to reference camera views and camera controls, you must first add a camera to your scene. To add a scene camera to a Motion project: m Choose Object > New Camera (or press Command-Option-C). A camera object is added to the Layers list, the Timeline, and the Canvas (represented there by a wireframe icon). The 3D Transform tool in the Toolbar becomes active, the Camera HUD appears (if it isnt visible, press F7), and the Camera tab in the Inspector becomes available. If you add a camera to a project that contains no existing 3D groups, the following dialog appears:

No rasterization; no LED

Normal Blend Mode causes rasterization; LED on
A small outline appears around the 2D or 3D group icon (to the left of the group name) in the Layers tab and Timeline layers list.

No rasterization

Rasterization indicator around group icon
Important: 3D particle emitters, 3D replicators, and non-flat text objects are treated as 3D groups for the purposes of rasterization.
Examples of 2D Group and 3D Group Rasterization

No groups rasterized

Topmost group rasterized
In the example above, there are two groups: The first group (topmost in the Layers list) contains the image of a lone elephant. The second group contains the image of a family of elephants. In the left example above, the single elephant imagein the topmost grouphas its Blend Mode set to Vivid Light. Because the group is not rasterized, the Blend Mode passes through the group and operates on the background. In the right example above, the topmost group is rasterized, so the elephant images Blend Mode no longer passes through the group.

Group A rasterized

In the left example above, Group A and Group B intersect because they are not rasterized. In the right example above, Group A has been rasterized, so Group A and Group B no longer intersect. Important: If a groups Blend Mode is set to Pass Through and any of the groups children have different Blend Modes applied, the children are not rasterized.

Lighting

Lighting can be applied to a motion graphics project to enhance the depth and scope of compositions, or it can help in creating realistic environments for composites. Motions lighting system only works on 3D groups and their children. To add a light to a project: m Choose Object > New Light (or press Command-Shift-L). A light object is added to the Layers list, the Timeline, and the Canvas (represented there by a wireframe icon), and the 3D transform tool in the Toolbar becomes active. If you add a light to a project with no existing 3D groups, the following dialog appears:
If you select Keep as 2D, a light at the root level has no effect until you have at least one root-level 3D group. By default, groups and objects display the shading from lights as soon as lights are added. How Lights Are Activated A light is activated when it is a child of the following objects: The project (for example, a light is at the root level of the project) A flattened 3D group Important: If you move a 3D group containing a light into a 2D group, the following dialog appears, unless the groups Flatten parameter is turned on:

Properties Affecting the Appearance of Lights When you are adding lights to a scene, two groups of properties contribute to the appearance of lights: light properties and object lighting properties. You can adjust light properties by selecting a light object in your project, then modifying the parameter values in the Light tab in the Inspector. You can manipulate object lighting properties by selecting a nonlight object in your project (an image, movie clip, shape, and so on), then adjusting the Lighting parameters in that objects Properties tab.
Light propertiesthe quality of the light source itselffall into the following categories: the type of light, its intensity, and its color. A light bulb, the sun, and lighting in a dance club each have a different appearance, and lighting properties can be used to simulate these differences.
Combining Multiple Light Types
Each type of light has its own unique attributes. It may take a combination of light types to achieve your desired effect. Most scenes with lights should include an ambient light to add depth or prevent total darkness. Like real-world lights, you can use multiple lights to mix color. If one red and one blue spot light are pointed at a white object, they mix to make magenta.

Light Parameters

When you create a light, or select a light object in the Layers tab, the Light tab becomes available in the Inspector. The Light tab contains the following parameters: Light Type: A pop-up menu that lets you choose from four categories of light. Ambient: An ambient light emits light in all directions. This type of light has no position and no representation in the Canvas. An ambient light illuminates all objects in the scene from all directions equally. Additionally, ambient lights are the only lights that do not affect highlights. The most common use for ambient lights is to add an overall fill effect, or color cast. Note: There is no global ambience property in Motion, so you may have to add an ambient light to prevent total blackness.
Directional: A directional light emits parallel rays of light in a specified direction from a source located at an infinite distance. Only the rotation of this light has bearing on its effect. A directional light icon, in conjunction with the transform controls, can be used to assist in visualizing the direction the light is traveling in a scene. The directional light appears as a cylinder with one end removed. The circle represents the back of the light, and the lines indicate the direction in which the light is travelling.

Directional light

Example of a directional light
Point: A point light emits light outward from a single point in 3D space in all directions. Optionally, you can add falloff based on an objects proximity to the light. This is Motions default light, and it produces results similar to that of an incandescent light bulb.

The Properties tab of the Inspector contains the following Lighting controls: Shading: A pop-up menu that enables you to set how an object responds to lights in the scene. If set to On, the object can be lit. If set to Off, the object ignores scene lights. If set to Inherited (the default), the object uses the Shading value of its parent. Note: It is possible to set the Shading parameter of a child of a group (however deep it may be nested) to On; that setting overrides any group settings previously applied to the child object. Highlights: A checkbox that toggles whether or not lit objects show highlights. This parameter has no effect if Shading is set to Off. Shininess: A slider and value slider that set how strong an objects highlights appear. Higher values create a glossier appearance. You may have to finesse both object surface properties and lighting parameters to achieve the desired result.
Enhancing Lighting Effects
Lights in Motion do not cast shadows. In some cases, an objects Drop Shadow parameter may be an effective substitute if the camera is stationary.
Simulated shadow created using Drop Shadow
Another method to simulate shadows is to modify a duplicate of the object being lit.
Simulated shadow created with a modified duplicate of the text object
Light sources are not visible. You can simulate a visible light source by combining a point light and an image or shape.
Simulated visible light source created by combining a light with a shape
Note: Use the Match Move behavior to move a simulated light source with a light in a movie clip. For more information on the Match Move behavior, see Match Move Workflows on page 58.

Motion Tracking

Use tracking behaviors to match move objects, stabilize clips, or track filter effects. About Motion Tracking
Motion tracking is a method of recording the movement of an element (a shape or reference point in a movie clip) in the Canvas, then applying that recorded movement data to another element in the Canvas. For example, you can use motion tracking techniques to pin a post-production graphic to the side of a moving bus, track a blurry circle to a persons face to preserve an innocent bystanders anonymity, or replace a daring stuntmans head with the lazy mug of a leading actor. Motion provides a set of automated tracking behaviors that allow you to do all of this and more: Match moving elements in movie clips: You can apply tracking data from a background element (such as a billboard) to a composited foreground element (such as a graphic of a logo) so that both elements appear to be locked together. This technique is known as match moving. Match moving animated objects in the Canvas: You can apply the motion data of an animated object to another object in the project. For example, you can attach a smoke particle emitter to an animated spaceship so that a rocket exhaust trail follows wherever the spaceship moves. Stabilizing camera movement in movie clips: You can apply tracking data to remove unwanted camera movement or jitter in a movie or image sequence. For example, you can smooth handheld camera shots. Unstabilizing movie clips: You can restore movement to a previously stabilized movie. This technique is useful when you have stabilized a clip in order to add a foreground effect but wish to restore the original camera movement to the final composite.

You can quickly apply the animation data of an object, such as animation created by behaviors or keyframes, to another element in the project without analyzing the source object. Drag the animated source object to the Source well in the behaviors HUD or Inspector to apply its movement to the destination object. Note: The Match Move behavior can be applied to nearly any object type. Stabilize: This behavior removes unwanted motion in a clip, such as camera jitter. The stabilization can be applied to the horizontal or vertical movement in the clip, or to a combination of horizontal and vertical movement. This effect can be achieved in one of three ways: Motion can analyze and automatically stabilize a clip without the use of any trackers. In this case, the Stabilize behavior evaluates the entire frame of a clip using motion analysis to record the movement of the camera. This behavior offers two ways to use this recorded data: clip smoothing, which eliminates unwanted jitter while maintaining the general motion of the camera; and clip locking, which stabilizes a subject. This behavior can analyze and affect position, scale, and rotation. In addition to full-frame motion analysis, you have the option to manually add trackers for one-point (position) tracking or two-point (position, scaling, or rotation) tracking. You can also add as many trackers as you like. When you add manual trackers to the Stabilize behavior, Motion stabilizes the clip using data from the trackers rather than from an automatic motion analysis. When using this method, the tracker moves the entire frame so that the track point falls in the same spot in each subsequent frame. You can load in tracks recorded in another Stabilize behavior. To load another track, choose a track from the tracking behaviors pop-up menu, located in the tracking behavior HUD or Inspector. Note: The Stabilize behavior can only be applied to footage (a QuickTime movie or an image sequence). Unstabilize: This behavior does not perform any tracking. Instead, the Unstabilize behavior applies the movement recorded by another tracking behavior, such as Stabilize, to a clip or object. This allows you to match the camera shake in a clip to foreground elements added in post-production. To load the tracking data, choose a track from the tracking behaviors pop-up menu, located in the tracking behavior HUD or Inspector. Note: The Unstabilize behavior can be applied to nearly any object type.

Use the onscreen controls to position the center point of a filter on the tracking reference pattern.
Note: To use a filters onscreen controls, select the filter in the Layers list, then choose the Adjust Item tool from the Select/Transform tools in the Toolbar. For more information on using filters, see Chapter 10, Using Filters, in the Motion 3 User Manual.
2 In the Behaviors tab of the Inspector, Control-click the Center parameter, then choose Track from the shortcut menu. In the Canvas, the filters onscreen control is replaced with a tracker. The Behaviors tab becomes active and the Track behavior parameters are displayed. Note: In the Filters tab, a behavior icon appears next to the Center parameter, indicating that it is influenced by a behavior. If necessary, adjust the tracker in the Canvas. If the reference pattern you want to track is offset from the center of the filter, use the Offset Track checkbox. For more information on using the Offset Track parameter, see Tracking Obscured or Off-Frame Points on page 91. 3 Click the Analyze button in the HUD or Behaviors tab of the Inspector. The filters center is tracked to the clip. Note: You can make changes to the filter parameters after the analysis is performed.
Adjusting the Onscreen Trackers
The Analyze Motion, Stabilize, and Match Move behaviors share common onscreen and interface controls. A tracker consists of a single onscreen control: the tracker.
The default onscreen tracker color is yellow. Depending on the color of your subject, you may need to change the color of the tracker to see the tracker in the Canvas. Once the tracking analysis begins, a progress window opens and track points appear in the Canvas. The track points are the post-analysis motion path (the path that looks like a string of pearls) that appears in the Canvas. The track point at the current playhead position is emphasized.
To position the tracker, do one of the following: m Drag the tracker in the Canvas. As you drag, the area around the tracker in the Canvas is magnified and its position is displayed in an info window. This area is a visual aid for positioning the tracker and does not represent a search area or region.
Note: Unlike many correlation trackers, you do not manually specify a search area when setting up a tracker in Motion. Motion automatically searches, with subpixel accuracy, a default area around the track point. The Behaviors tab of the Inspector includes a Tracker Preview area that updates as you drag the tracker in the Canvas. m Drag in the Tracker Preview area to further fine-tune the position of the tracker. As you drag in the preview area, the tracker in the Canvas also updates.

Drag anywhere in the Tracker Preview area to adjust the position of the tracker. You do not not have to drag the red plus (+) sign.
m Click the trackers disclosure triangle in the Behaviors tab of the Inspector, and use the Position controls to numerically adjust the trackers position.
To move multiple trackers at the same time: m Drag to select or Shift-select the trackers in the Canvas, then drag them to a new position. A selected tracker appears white. Note: Because you risk moving the onscreen trackers when Shift-selecting, dragging to select may be a better option. To turn off the onscreen trackers, do one of the following: m Control-click a tracker in the Canvas, then choose Hide Selected Tracker from the shortcut menu. m Turn off the appropriate Track checkbox in the Behaviors tab of the Inspector. Once the tracker is turned off, it is not used in the analysis. To turn on the onscreen trackers: m Turn on the appropriate Track checkbox in the Behaviors tab of the Inspector. To change the color of the onscreen tracker: 1 Select the tracker and click the Behaviors tab in the Inspector. 2 Click the trackers disclosure triangle and use the Color controls to change the color of the tracker.

Tracker Color controls

Strategies for Better Tracking
Selecting a good tracking reference feature in a movie or image sequence is pivotal in achieving an accurate track. Tracking is often trial and errortracking a single reference pattern with a single analysis pass rarely yields a perfect result. More often, a successful track is a combination of automatic and manual tracking, experimenting with different parameter settings, as well as resetting reference points at different locations in the clip.
Finding a Good Reference Pattern
The first step in selecting a good reference pattern is to play the footage several times. As you review the clip, try to locate a reference pattern that follows as many of the following rules as possible: The pattern ontains perpendicular edges, such as dots, intersections, and corners (lines and straight boundaries should be avoided as tracking reference patterns). It is a high-contrast pattern. It contains even changes in brightness or color (an example of an uneven color or brightness change is a sharp-edged shadow that passes over your reference pattern). It appears in every frame of the clip (does not move offscreen or become obscured by other objects). It is distinct from other patterns in the same neighborhood in the clip.
Manually Coaxing Your Track

Another technique you can use is to manually insert tracking keyframes. For example, if you have 100 frames to track, you can manually create a keyframe every 10 frames. To manually create tracking keyframes using the Record button: 1 Enable Record (press A). 2 In the Canvas, position the tracker at the reference point you want to track. A tracking keyframe is created in the behavior. Note: You can press Shift-Period to jump forward 10 frames, or press Shift-Comma to jump backward 10 frames. 3 Repeat step 2 until youve completed the track. To manually create keyframes without enabling Record: 1 In the Canvas, position the tracker at the reference point you want to track. 2 Do one of the following: For Analyze Motion, Match Move, or Stabilize (with manual trackers), choose Object > Add Position Keyframe or Object > Add Result Keyframe (or press Control-K). For Stabilize (automatic mode), choose Object > Add Motion Vector Keyframe.
Manually Modifying Tracks
You can manually modify track points. To manually adjust an onscreen track point: 1 Position the playhead at the frame you want to modify. The track point at the current playhead position is highlighted.
2 Do one of the following: Drag the highlighted track point in the Canvas to adjust its position. Drag in the Tracker Preview area in the Behaviors tab of the Inspector. Note: You can only use the trackers Position parameter to adjust the onscreen tracker, not an onscreen track point. For fine-tuning, you can zoom in and out of the clip using the Zoom tool.

Zoom tool

The zoom follows the pointer, so place the pointer on the track point in the Canvas and drag right to zoom in. Drag left to zoom out of the clip. To return to normal view, choose 100% from the Zoom Level pop-up menu (in the lower-right section of the Toolbar). You can also adjust a tracking curve in the Keyframe Editor. For more information on using the Keyframe Editor, see chapter 6, Keyframing and Curves, in the Motion 3 User Manual.
Converting Tracks to Keyframes
Tracking data that is recorded or referenced by the Match Move, Stabilize, or Unstabilize behavior can be baked into keyframes on the transformed object. The tracking keyframes are applied to the tracked object and the behavior is deleted from the project. You can then modify the animation curves in the Keyframe Editor. Because it does not transform the image, tracks recorded by the Analyze Motion behavior cannot be converted into keyframes. However, a Match Move or Stabilize behavior that references data from an Analyze Motion behavior can be converted into keyframes. To convert a tracking behavior to keyframes: 1 Select the Match Move, Stabilize, or Unstabilize behavior that you want to convert. 2 Choose Object > Convert to Keyframes (or press Command-K). A dialog appears confirming the conversion. 3 Click OK. The behavior is converted into editable keyframes and the tracking behavior is deleted. For more information on converting behaviors to keyframes, see Chapter 5, Using Behaviors, in the Motion 3 User Manual. For more information on using the Keyframe Editor, see Chapter 6, Keyframing and Curves, in the Motion 3 User Manual.

In the following image, a large border is created when the clip is stabilized.
Next, a Scrape filter is applied to the group in which the stabilized clip resides. The left image shows the clip when the filter is first applied to the group. At first, it does not appear especially helpful. In the right image, the center and rotation of the filter are adjusted, removing the black edge by stretching the right edge of the image.
Important: The filter must be applied to the clips group, not to the clip, for this technique to have any effect. Note: You may need to turn on the Fixed Resolution checkbox in the Group tab of the Inspector so the effect of the Scrape filter is not cropped.

Some General Guidelines

The Motion tracker uses the source image for its tracking analysis. This means that the tracker automatically uses the best search area, the best color, the best contrast, subpixel accuracy, and so on in the clip to generate the best possible tracking data. Common tracking strategies, such as using filter tricks, manually resizing a tracking box or search area, or specifying a subpixel sampling amount are not required. This does not mean that you do not have to work to achieve a perfect track, of course. Use the following guidelines to help you decide what may assist you and what wont assist you in your tracking analysis.
What Will Not Help You Applying any filter to a clip or object prior to tracking Soloing or isolating a tracked clip. This does not speed tracking analysis. Adding multiple Stabilize behaviors. This does not help to further stabilize an analyzed clip, because the tracker analyzes the original source footage and not the result of an analyzed clip (or a filtered clip). Converting a track to keyframes and stabilizing again Selecting a tracking reference feature that does not change perspective, scale, or rotation. The Motion tracker is designed to handle changes in perspective, scale, and rotation very well. What Will Help You Removing interlacing (fields) from the footage prior to tracking. To remove the fields from footage, select the footage in the Media tab of the Project pane, click the Media tab in the Inspector, then choose an option from the Field Order pop-up menu. Note: Interlacing can be present in clips stabilized using the automatic analysis mode in the Stabilize behavior. Stabilizing a clip, exporting the clip, importing the clip, then stabilizing the clip again. Sharpening or blurring a clip or an object with a filter, exporting the clip, importing the clip into the same group as the original footage, tracking the filtered clip, then using that tracking data as the source for other tracking behaviors Note: Other filter tricks may also be helpful, such as using a filter to isolate a lessnoisy color channel of a clip or an object. Setting the View resolution to a lower setting, which may speed the tracking analysis

When Match Move references another behavior, the trackers from the referenced behavior are applied to the Match Move trackers.
Rotation-Scale: Available when one-point or two-point tracking is enabled (when Transformation is chosen from the Type pop-up menu), this checkbox turns the Rotation-Scale tracker on or off. Rotation and scale data are recorded by using the relationship between the Anchor and Rotation-Scale trackers. When Scale or Rotation is enabled in the Adjust parameters, the Rotation-Scale tracker is turned on. When the Match Move behavior references another behavior, such as Analyze Motion, the Rotation-Scale tracker subparameters are replaced with a pop-up menu that allows you to select the tracker from the referenced behavior that you want to apply as the Rotation-Scale tracker. Top Left: Available when four-point tracking is enabled, (Four Corners is chosen from the Type pop-up menu), this checkbox turns the top-left tracker on or off. Top Right: Available when four-point tracking is enabled, (Four Corners is chosen from the Type pop-up menu), this checkbox turns the top-right tracker on or off. Bottom Right: Available when four-point tracking is enabled, (Four Corners is chosen from the Type pop-up menu), this checkbox turns the bottom-right tracker on or off. Bottom Left: Available when four-point tracking is enabled, (Four Corners is chosen from the Type pop-up menu), this checkbox turns the bottom-left tracker on or off.
When the Match Move behavior references another behavior, such as Analyze Motion, the Top Left, Top Right, Bottom Right, and Bottom Left tracker subparameters are replaced with a pop-up menu that allows you to select the tracker from the referenced behavior that you want to apply to each Match Move tracker. 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 Match Move behavior, see Match Move Workflows on page 58.

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).
Note: You must move the playhead to the frame from which you want to begin the reverse analysis. 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 Track Parameter behavior, see Track Parameter Workflow on page 79.

New Features in Motion 3

This document explains the new features and enhancements released in Motion 3. For more information about these features and their use, see the Motion User Manual and the Motion Supplemental Documentation, available from the Motion Help menu.
Motion 3 now supports a three-dimensional, multiplane compositing environment, allowing you to create sophisticated 3D motion graphics with depth and new levels of realism. In the Motion 3D workspace, you can: Add and animate cameras, images, and text along paths in three dimensions. Create particle systems and replicators with height, width, and depth. Apply behaviors such as Throw, Spin, and Vortex in 3D space. Apply new camera behaviors that automate sweeping pans and dramatic zooms. Stylize your projects with a combination of blend modes and scene lights.
Motion Tracking and Stabilization
Using the new Motion Tracking behaviors, you can stabilize handheld camera shots, track the individual points of a shape or mask to background element, and more. The new Motion Tracking behaviors include: Match Move: Apply tracking data to from one element in the Canvas to another, thereby locking them together. For example, you can match an image file of a logo to the background video of a billboard so that the logo appears to be superimposed on the billboard even when the camera moves. Additionally, you can apply the transformation data of an animated source object to another destination object without analysis. As a result, the destination object moves just like the source object. Stabilize: Analyze a movie or image sequence with the Stabilize behavior to remove unwanted movement. For example, use the Stabilize behavior to smooth handheld camera shots. Unstabilize: Restore movement to a previously stabilized clip. This behavior is useful when youve stabilized a video clip in order to add a foreground effect but wish to restore camera movement to the final composite. After youve completed the foreground effects work, use the Unstabilize behavior to reapply the original motion data to the both the original background element and also the new foreground elements. Track Points: Track the control points of a shape or mask (including paint strokes) to moving elements in a clip. For example, you can draw a mask around a car in a movie clip, then track the control points of the mask to the edges of the moving car, thereby isolating the car from the rest of the clip. You can then apply effects to the isolated car without affecting surrounding areas of the clip. The Track Points behavior also allows you to apply existing tracking data recorded by the Analyze Motion, Match Move, or Stabilize tracking behaviors to the control points of a shape or mask. Track Parameter: Track a parameter of a filter to single point in a movie clip. For example, you can make the center point of an applied Light Rays filter follow a moving light in a clip. In this case, the tracking data is applied to a single parameter of the filter (the Center parameter), rather than to the filter as a whole.
Motion allows you to design painterly elements using customizable brushes and vector-based strokes that weave through 3D space. You can create animated brush strokes that respond to pressure, tilt, and speed when using a graphics tablet. You can also design custom brushes using color, gradients, text, images, and QuickTime movies. There are two new paint features in Motion: Paint Strokes: A shape that is created by painting a stroke in the Canvas using the Paint Stroke tool in the Toolbar, or by modifying the outline of an existing shape. The Paint Stroke tool allows you to use a stylus and graphics tablet (or a mouse) to create a paint stroke, rather than drawing the shape in a point-by-point fashion (like a Bezier or B-Spline shape). In addition to sharing other shape outline parameters, paint strokes have a unique tool set that allows you to change the look of the paintbrush and to create particle-type effects with the stroke. Use the Write On feature to record a stroke so that it draws across the Canvas over time. Sequence Paint: A new behavior called Sequence Paint allows you to animate the dabs of a paint stroke in sequence over time. Using the Sequence Paint behavior, you can customize a paint stroke to fade in, fade out, rotate, shrink, or grow over time.
Final Cut Pro Integration

Motion now offers tighter integration with Final Cut Pro 6. Send timelines from Final Cut Pro to Motion and retain more project detail than ever before. Send Timeline information such as cuts, layers, and basic motion parameters. Send SmoothCam clips from Final Cut Pro to Motion without having to reanalyze the clip. You can also send retiming data from Final Cut Pro to Motion for further modification. You can add motion graphics created in Motion directly to your Final Cut Pro sequence, without rendering. You can immediately see changes to a Motion project in your Final Cut Pro sequence. You can create new Motion projects based on a selection of clips or a sequence in Final Cut Pro. You can use this feature to sketch a motion graphics sequence in Final Cut Pro and then refine it in Motion. The new Motion project can then be embedded in your Final Cut Pro sequence.

Final Cut Pro Templates

You can now set up templates in Motion that can be used as masters in Final Cut Pro, allowing changes to a single project to cascade to a number of Final Cut Pro projects and sequences. Edit text from Motion templates directly in Final Cut Pro while retaining layout, format, and animation. Drop zones created in Motion projects carry over to Final Cut Pro so content can easily be replaced in editorial. You can create templates in Motion that can be used directly in Final Cut Pro. You can edit master templates into sequences and then customize parameters such as text and video within drop zones. You can globally modify the look of all template clips in your project by editing the original Motion template file.

Audio Behaviors

Several new behaviors in Motion allow you to generate audio-driven animations. Use the Audio Parameter behavior to trigger and animate any parameter according to audio amplitude or waveform transients. For example, make a particle system pulse to the beat of music or have an audio tracks bass amplitude affect an objects opacity. You can also modify the threshold and frequency at anytime without having to recalculate keyframes or type expressions. Audio Auto Pan: Automates commonly used panning effects in an audio track. For example, you can animate a car moving from right to left and have the audio in the project move from right to left as well. Audio Fade In/Fade Out: Automates fading in and fading out an audio track. Audio Parameter: Performs an analysis of a specific property of an audio track, then applies an animation curve to an object parameter based on that analysis.

Retiming Behaviors

The new Retiming behaviors in Motion let you create sharp, clean speed changes in video clips. Some of the new Retiming behaviors allow you to make a clip speed up, slow down, strobe, repeat, flash random frames, stutter, scrub, or reverse. The Set Speed behavior allows fine control over how variable speed is applied to a clip. You can also access retiming data form Final Cut Pro and use traditional keyframes for variable speed effects.

Advanced Keyframe Editor

New, advanced Keyframe Editor tools let you animate with more keyframing precision and speed. Use keyboard shortcuts to display only the animation curves you need. Sketch tool: Drag an intuitive pen tool to sketch animation curves in the Keyframe Editor, creating keyframes as you go, for any parameter. Box tool: Drag this tool to select multiple of keyframes, then squish, stretch, or reposition them by adjusting onscreen handles.
Copyright 2007 Apple Inc. All rights reserved. Apple, the Apple logo, Final Cut, Final Cut Pro, Final Cut Studio, and QuickTime are trademarks of Apple Inc., registered in the U.S. and other countries. Other company and product names mentioned herein are trademarks of their respective companies.