Welcome
What’s new
- What is Motion?
- Motion workflow
- Motion interface
- Basic components of Motion
- Using input devices
- Intro to creating projects
- Create a new project
- Open an existing project
- Search for projects from the Finder
- Bypass the Project Browser
- Create and modify project presets
- Save, autosave, and revert projects
- Intro to adding and managing content
- Intro to project playback
- Define the play range
- Project playback performance
- Intro to basic compositing
- - Modify layer opacity
- Intro to 3D compositing
- - Intro to 3D coordinates
  - Relative coordinates
- Transform layers in 3D space
- - Create 3D intersection
  - 2D and 3D group properties
- Intro to the Timeline
- Display or resize the Timing pane
- Navigate in the Timeline
- Show and modify keyframes in the Timeline
- - Intro to the Timeline ruler
  - Edit a range of frames in the Timeline
- Edit in the mini-Timeline
- Intro to behaviors
- Behaviors versus keyframes
- - Browse for behaviors
- - Intro to adjusting behaviors
  - Adjust behaviors
- Intro to keyframing
- Add keyframes
- - Add an animation path in the canvas
  - Modify animation paths
- Animate from the HUD
- - Apply keyframes to behaviors
  - Combining keyframes and behaviors
- Use the mini-curve editor
- Animate on the fly
- Simplify a keyframe curve
- Intro to Final Cut Pro templates
- - Template workflow
  - Placeholders vs. drop zones
- - Convert a Motion project to a template
  - Convert a template to another type
- Use placeholder images in templates
- Set template resolution
- Add multiple aspect ratios to templates
- Override the Final Cut Pro color space
- Create templates that conform to the Final Cut Pro color space
- Where are templates saved?
- Using masks in templates
- - General template guidelines
  - Tips for color processing in templates
- Intro to rigging
- How does rigging work?
- Build a simple rig
- Work with widgets
- Control rigs from Animation menus
- Publish rigs to Final Cut Pro
- Intro to Particles
- - Add a particle system
  - Anatomy of a particle emitter
- Create 3D particles
- Particle system timing
- Using graphics in particle systems
- Using filters and masks with particles
- Save custom particle effects
- Intro to replicators
- Replicators vs. particle systems
- - Add a replicator
  - Anatomy of a replicator
- Work with 3D replicators
- Replicator timing
- Using filters and masks with replicators
- Save custom replicators
- Intro to basic text
- Select and modify text in the canvas
- Preview and apply fonts
- Use preset text styles
- - Intro to editing text
  - Display the Text Inspector or HUD
- Convert standard text to 3D text
- Check spelling
- Find and replace text
- Using filters with text
- Intro to 3D text
- 3D text workflow
- - Add 3D text
  - Convert 2D text to 3D text
- Apply a preset 3D text style
- Move and rotate 3D text
- Add a glow or drop shadow to 3D text
- 3D text intersection
- Intro to animated text
- Apply a text behavior
- - Use the Scroll Text behavior
  - Scroll Text controls
- - Use the Text Tracking behavior
  - Text Tracking controls
- - Use the Type On behavior
  - Type On controls
- Animate individual text glyphs
- Animating 2D text in 3D space
- When to use keyframes to animate text
- Adding nontext behaviors to text
- Save a modified text behavior
- Intro to shapes, masks, and paint strokes
- - Intro to complex shapes and masks
  - Draw complex shapes and masks
- Edit fill, outline, and feathering
- Keyframe shape control points
- Convert between shapes and masks
- Using filters and masks with shapes
- Copy shape styles
- Save custom shapes and shape styles
- Intro to using generators
- Add a generator
- - Modify or animate a generator
  - Controls common to all generators
- Save a modified generator
- Intro to filters
- Browse and preview filters
- Apply or remove filters
- - Animate filter parameters with keyframes
  - Animate filters using behaviors
- About filters and color processing
- Publish filter controls to Final Cut Pro
- Using filters on alpha channels
- Filter performance
- Save custom filters
- Intro to color keying
- - Intro to the Luma Keyer filter
  - Luma Keyer filter controls
- Intro to 3D objects
- Add a 3D object
- Move and rotate a 3D object
- Reposition a 3D object’s anchor point
- Exchange a 3D object file
- 3D object intersection and layer order
- - Intro to 3D object timing
  - Modify 3D object timing in Motion
- Using cameras and lights with 3D objects
- Save custom 3D objects
- Guidelines for working with 3D objects
- Working with imported 3D objects
- Intro to 360-degree video
- 360-degree projects
- Create 360-degree projects
- Add 360-degree video to a project
- - View 360-degree projects
  - View 360-degree video in a VR headset
- - Intro to graphics in 360-degree projects
  - Use graphics in 360-degree projects
- Create a tiny planet effect
- Reorient 360-degree media
- Creating 360-degree templates for Final Cut Pro
- 360-degree-aware filters and generators
- Export and share 360-degree projects
- Guidelines for better 360-degree projects
- Intro to tracking
- How does motion tracking work?
- Analyze and record motion in a clip
- Track shapes, masks, and paint strokes
- Track the position of a filter or object
- Adjust onscreen trackers
- Load existing tracking data
- Use a range of frames for analysis
- Save tracks to the Library
- Intro to audio
- View audio files
- Add audio files
- Play audio files
- Intro to exporting projects
- Export a QuickTime movie
- Export audio only
- Export a still image
- Export an image sequence
- Export to Apple devices
- Export to email
- Export using Compressor
- Create share destinations
- Render settings
- View the status of shared items
- Share notifications
- About color space
- Intro to color management
- Set the color processing method
- Manage automatic color processing
- View HDR media
- Adjust HDR media
- Choose HDR colors
- Display luminance values
- Tips for color management
- Intro to Cinematic mode video
- Move Cinematic clips to your Mac
- Enable Cinematic mode video adjustments
- Adjust focus points in Cinematic mode video clips in Motion
- Adjust depth of field in Cinematic mode video clips
- Intro to settings and shortcuts
- Touch Bar shortcuts
- Move assets to another computer
- Work with GPUs
Glossary
Copyright

Manage automatic color processing in Motion

When a project contains a mixture of SDR elements created in Motion (such as text, shapes, or generators), SDR media, and HDR media, use Automatic color processing to have Motion manage your project’s color space. Automatic color processing uses intelligent tone mapping to integrate media elements with varying color spaces.

The left image below shows a project with Color Processing set to Standard Gamut SDR; the project contains white text superimposed over an HLG video clip. Because the dynamic range of both text and clip is uncorrected, the clip appears blown out, and the white text appears too bright. In the right image, Color Processing is set to Automatic. Because the elements are now automatically tone mapped, the clip appears accurate and the text is better integrated with the image.

Canvas showing effects of switching from a Wide Gamut HDR project to an Automatic project.

When a project’s Color Processing is set to Automatic, the following occurs:

The project’s render color space is automatically determined by your computer display. With an SDR display, the Render Color Space setting (in the View pull-down menu) is set to Rec. 709. With an HDR display, the Render Color Space setting is set to HDR Rec. 2020 HLG.
All images or clips in the project are automatically converted to the project’s working color space. When necessary, inverse tone mapping is applied to SDR elements to expand their range of brightness, and tone mapping is applied to HDR elements to narrow their range of brightness.
Changing the render color space lets you preview how your project will look when exported to a movie file (or, if it’s a Final Cut effect, generator, transition, or title, how it will appear when it’s applied to the Final Cut Pro timeline).
An HDR White Level slider becomes available, letting you adjust the brightness of SDR elements in a project.
A Final Cut effect, transition, title, or generator template automatically conforms to the color space of the Final Cut Pro project when the template is applied to the timeline. Additionally, you can publish the HDR White Level slider with the template, allowing Final Cut Pro users to adjust the brightness of any SDR elements in the template.
Additional color controls become available in the Properties Inspector to override the automatically assigned conversion type of an image or clip.

Adjust the brightness of SDR elements

When a project’s Color Processing is set to Automatic, you can adjust the brightness levels of SDR elements (such as images, titles, shapes, and other graphics created in Motion) to better match the brighter levels of HDR media.

In a Motion project, set Color Processing to Automatic and set Render Color Space to HDR Rec. 2020 HLG or HDR Rec. 2020 PQ.
In the Layers list, select the Project object (or press Command-J).
In the Properties Inspector, drag the HDR White Level slider to increase or decrease the brightness of any SDR elements in the project.
Adjusting the HDR White Level slider affects all SDR elements in the project. If you don’t want the slider to affect a certain SDR image or clip, you can change its conversion type (see Change the automatic color conversion type for an image or clip).

Note: In general, the HDR White Level slider has no effect on HDR media. However, when you apply a filter that contains a color well (with the exception of Color Balance) to an HDR image or clip, the HDR image may be affected by the HDR White Level slider. See About filters and color processing.

Change the automatic color conversion type for an image or clip

When a project’s Color Processing is set to Automatic, Motion adjusts the dynamic range of an image or clip to better match the project’s Render Color Space setting (in the View pull-down menu) using different conversion types. If necessary, you can choose another conversion type.

In a Motion project, set Color Processing to Automatic.
In the Layers list, select the image or clip whose color conversion type you want to modify.
In the Properties Inspector, move the pointer over the end of the Color row, then click Show.
Click the Conversion pop-up menu, then choose Manual.
Click the Conversion Type pop-up menu, then choose one of the following:
- To/From 100% HDR (HLG): Converts a clip to or from 100% of the HDR HLG dynamic range whenever the clip needs to be tone mapped. For example, if the Render Color Space is set to Rec. 709, the full dynamic range of HLG is tone mapped to the full (but more limited) dynamic range of SDR, resulting in an HLG image that appears correct in the project. If the Render Color Space is set to HDR Rec. 2020 HLG, the full (but limited) dynamic range of Rec. 709 is inverse tone mapped to the full dynamic range of HLG. (If the clip is HLG and the render color space is set to HDR Rec. 2020 HLG, then no conversion occurs.)
  In general, use this option when your SDR media needs to expand to the maximum dynamic range of HLG HDR, or when HLG media contains HDR-level brightness (brighter than SDR media).
  (This is the default conversion type applied to HLG media when the Conversion pop-up menu is set to Automatic.)
- To/From 75% HDR (HLG): Converts a clip to or from 75% of the HDR HLG dynamic range whenever the clip needs to be tone mapped. For example, if the Render Color Space is set to Rec. 709, 75% of the dynamic range of HLG is tone mapped to the full (but more limited) dynamic range of SDR. If the Render Color Space is set to HDR Rec. 2020 HLG, the full (but limited) dynamic range of SDR is tone mapped to 75% of the dynamic range of HLG. (If the clip is HLG and Render Color Space is set to HDR Rec. 2020 HLG, then no conversion occurs.)
  In general, use this option to keep SDR media at SDR-level brightness when used in an HDR HLG project, or when HLG media doesn’t contain HDR-level brightness (such as an SDR clip that’s recorded and encoded as HLG).
- To/From HDR (PQ): Converts a clip to or from HDR PQ based on the project’s current render color space. For example, when the render color space is set to Rec. 2020 HLG, a PQ clip is converted from PQ to HLG so it appears correct in the project.
  When this option is selected, the PQ Peak (nits) slider becomes available in the clip’s Properties Inspector, letting you adjust the peak brightness (nits value) of a PQ clip. The PQ Peak (nits) value is the default value of the PQ clip (1,000 nits, or the value of any peak mastering metadata in the clip).
  (This is the default conversion type for PQ media when the Conversion pop-up menu is set to Automatic.)
- Use HDR White Level (75%): Instructs an image or clip to use the HDR White Level slider (in the Project Properties Inspector) to adjust its brightness. If you’ve previously changed the default value of the HDR White Level slider in the Project Properties Inspector, that value is displayed in the pop-up menu.
  (This is the default conversion type for SDR media when the Conversion pop-up menu is set to Automatic.)
- None: No conversion occurs.
If you choose Use HDR White Level (75%) for an HDR image or clip when Render Color Space is set to HDR Rec. 2020 HLG or HDR Rec. 2020 PQ, the HDR White Level slider has no effect on the image. If Render Color Space is set to Rec. 709 or Rec. 2020, the HDR White Level slider does affect the HDR image. SDR elements in a project (such as text, shapes, and particles created in Motion) are always affected by the slider.
Note: If a filter that contains a color well is applied to an HDR image, the HDR White Level slider does affect the image when Render Color Space is set to HDR Rec. 2020 HLG or HDR Rec. 2020 PQ.

Preview a project in a different SDR or HDR color spaces

You can quickly preview the appearance of a project in different SDR or HDR color spaces (and preview the how a project will look when exported). This is most useful if you’re working on an HDR display, such as an Apple Pro Display XDR or a MacBook Pro with a Liquid Retina XDR display.

Choose View > Render Color Space, then select the color space you want to preview your project in. For example, if you’re working in wide-gamut Rec. 2020 and plan to export to a standard-gamut Rec. 709 format, set Render Color Space to Rec. 709 to view any clipping that may occur.
You can manually set tone mapping to view a project without clipping. See Turn tone mapping on or off.

Download this guide: PDF

Kasulik?

Motion User Guide

Manage automatic color processing in Motion

Adjust the brightness of SDR elements

Change the automatic color conversion type for an image or clip

Preview a project in a different SDR or HDR color spaces