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

Luma Keyer filter controls in Motion

After you apply the Luma Keyer filter to a video or image layer in your project, you can refine the keying parameters in the Filters Inspector, which contains the following controls:

Basic controls

Luma: A grayscale gradient control with handles to adjust tolerance and softness in the matte. When you first apply the Luma Keyer filter to an image layer in Motion, the Luma control displays two handles: a Tolerance handle in the upper right, and a Softness handle in the lower left. Dragging the top handle to the left reveals a second tolerance handle. Together, these handles define the range of image lightness used to set the core transparency of the resulting matte. The range of lightness turned transparent is indicated by a checkerboard pattern behind the gradient. Two handles under the gradient define the softness, or edge transparency, of the key. (The second softness handle may not be visible until you drag the two tolerance handles left.) Dragging either of the lower softness handles farther out and away from the upper tolerance handles results in a key with softer edges. You can also drag the slope in the graph to adjust the softness handles.
Invert: A checkbox that, when selected, inverts which area is transparent and which is opaque.
Luma Rolloff: A slider to adjust the linearity of the falloff between the Luma control’s tolerance and softness handles. Modifying this parameter changes the softness of the matte around the edges in regions that are affected most by the Luma control. Decreasing the Luma Rolloff value makes the slope between the two handles of the Luma control more linear, which visibly increases edge softness. Increasing this value makes the slope between the handles of the Luma control steeper, sharpening the edges of the matte and making them more abrupt.
View: A group of buttons to switch among three keying preview modes in the canvas, useful for refining your key:
- Composite: The leftmost button, when selected, displays the final composited image in the canvas, with the keyed foreground subject isolated against a transparent background, which lets layers underneath show through.
- Matte: The center button, when selected, displays the grayscale matte, or alpha channel, generated by the keying operation. Areas in the matte that appear white are visible in the final composite; areas that appear black are transparent; and areas with shades of gray are semitransparent (lighter grays being more solid, and darker grays being more translucent). Viewing the alpha channel makes it easier to spot unwanted holes in the key, or areas of the key that aren’t transparent enough.
- Original: The rightmost button, when selected, displays the original, unkeyed image in the canvas.

Matte Tools controls

Click the disclosure triangle in the Matte Tools row to reveal controls for post-processing the transparency matte generated by the previous sets of parameters. These parameters do not alter the range of values sampled to create the keyed matte. Instead, they alter the matte generated by the Luma and Luma Rolloff controls, letting you shrink, expand, soften, or invert the matte to achieve a better composite.

Fill Holes: A slider to adjust solidity in regions of marginal transparency throughout a key. This parameter is useful when you’re satisfied with the edges of your keyed matte but have unwanted holes in the interior of the foreground subject that you can’t eliminate using the Strength parameter without ruining edges. Higher slider values fill more holes in the solid areas of the keyed subject.
Edge Distance: A slider to adjust how close to the edge of your keyed subject the effect of the Fill Holes parameter gets. Reducing this parameter brings the solid, nontransparent area of the matte closer to the edge of the subject being keyed, sacrificing translucence at the edges in favor of filling unwanted holes at the edge of the keyed subject, or retrieving areas of semitransparent detail, such as hair, smoke, or reflections. Raising this parameter pushes the filled area of the matte farther to the interior of the subject, away from the edges, adding translucence to regions of the image that aren’t being keyed aggressively enough. Raising this parameter too much can introduce regions of unwanted translucence in parts of the subject that should be solid.
Levels: A grayscale gradient control to alter the contrast of the keyed matte. Drag this control’s three handles that set the black point, white point, and bias (distribution of gray values between the black point and white point). Adjusting the contrast of a matte can be useful for manipulating translucent areas of the key to make them more solid (by lowering the white point) or more translucent (by raising the black point). Dragging the Bias handle right erodes translucent regions of the key, while dragging the Bias handle left makes translucent regions of the key more solid.
Black, White, Bias: Click the disclosure triangle in the Levels row to reveal sliders for the Black, White, and Bias parameters. These sliders, which mirror the settings of the Levels handles described above, allow you to keyframe and apply Parameter behaviors to the three Levels parameters (via the Add Keyframe button to the right of each slider). Keyframing the Black, White, and Bias parameters may yield a better key, one that adapts to changing blue screen or green screen conditions.
Shrink/Expand: A slider to manipulate the contrast of the matte to affect matte translucence and matte size simultaneously. Drag the slider left to make translucent regions more translucent while simultaneously shrinking the matte. Drag the slider right to make translucent regions more solid while simultaneously expanding the matte.
Soften: A slider to blur the keyed matte, feathering the edges by a uniform amount.
Erode: A slider that you can drag to the right to increase edge transparency from the outer edge of the matte progressively farther into the interior of the keyed matte.

Light Wrap controls

Click the disclosure triangle in the Light Wrap row to reveal controls for blending color and lightness values from the background layer of your composite with the keyed foreground layer. Using these controls, you can simulate the interaction of environmental lighting with the keyed subject, making it appear as if background light wraps around the edges of a subject. In Motion, the Light Wrap operation blends light and dark values from the background with the edges of the keyed foreground subject, and can be used to create color-mixing effects around the edges of the solid part of a key to better marry the background and foreground layers of your keyed composite.

Light Wrap is the last operation in the image-processing pipeline. In other words, the light-wrap effect is added after every other image operation is processed, including filters, lights and shading, and other composited effects. As a result, Light Wrap accounts for any visual effect that might alter the look of the object it is applied to, yielding the most desirable result.

A separate Light Wrap option appears in the Blend Mode pop-up menu of the Properties Inspector for a selected layer or group in Motion. The Light Wrap blend mode in the Properties Inspector for a layer is ignored when you add a Luma Keyer filter to that layer and set the Light Wrap Amount parameter to a value greater than 0. (The Light Wrap parameters of the Luma Keyer Keyer filter take precedence.) However, if you set the Amount parameter of the Light Wrap group to 0, the Light Wrap blend mode becomes active again. Further, the Light Wrap blend mode in the Properties Inspector for a group overrides the Light Wrap parameters of any Luma Keyer filters in that group.

Amount: A slider to control the light-wrap effect, setting how far into the foreground the light wrap extends.
Intensity: A slider to adjust gamma levels to lighten or darken the interaction of wrapped edge values with the keyed foreground subject.
Opacity: A slider to fade the light-wrap effect up or down.
Mode: A this pop-up menu to choose a compositing method to blend the sampled background values with the edges of the keyed subject. There are five options:
- Normal: Evenly blends light and dark values from the background layer with the edges of the keyed foreground layer.
- Lighten: Compares overlapping pixels from the foreground and background layers, then preserves the lighter of the two. Good for creating a selective light-wrap effect.
- Screen: Superimposes lighter portions of the background layer over wrapped areas of the keyed foreground layer. Good for creating an aggressive light-wrap effect.
- Overlay: Combines the background layer with the wrapped areas of the keyed foreground layer so overlapping dark portions become darker, light portions become lighter, and colors become intensified.
- Hard Light: Acts like the Overlay composite mode, except that colors become muted.

Additional controls

Preserve RGB: A checkbox that, when selected, preserves smooth graphics and text. Some images may be rendered as if they have an alpha channel, even though they don’t. A good example is white text on a black background. Rasterized text in most images is anti-aliased properly, and further modification to the RGB channels by the Luma Keyer can degrade the quality of the edges. Selecting the Preserve RGB checkbox adds transparency to the image without modifying the RGB channels, leaving smoothly aliased text or graphics visually intact.
Mix: A slider to set the percentage of the original image to be blended with the keyed image. 100% is the fully keyed image, while 0% is the original, unkeyed image.

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Kasulik?

Motion User Guide

Luma Keyer filter controls in Motion

Basic controls

Matte Tools controls

Light Wrap controls

Additional controls