Welcome
- What’s new in Motion 5.5
- What’s new in 5.4.6
- What’s new in 5.4.4
- 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
- - Create a generator template
  - Modify a Final Cut Pro generator
- - Convert a Motion project to Final Cut Pro
  - 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
- Where are templates saved?
- Using masks in templates
- Guidelines for better 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
- Publish filter parameters 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?
- Motion tracking behavior types
- Analyze motion in a clip
- Stabilize a shaky clip
- Unstabilize a clip
- Use a range of frames for analysis
- Load existing tracking data
- Track shapes, masks, and paint strokes
- Track a filter’s position parameter
- Adjust onscreen trackers
- 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
- Intro to preferences and shortcuts
- Touch Bar shortcuts
- Move assets to another computer
- Work with GPUs
Glossary
Copyright

Color Balance filter in Motion

Color balance refers to the relative strength of the red, green, and blue channels that constitute an image. For example, a blue-tinted image has a strong blue channel and weaker green and red channels.

For an example of using the Color Balance filter to match two composited layers, see Example: Color-balance two layers in Motion.

The Color Balance filter lets you adjust the relative balance of all three color channels of an image at once—for example, lowering the blue channel and raising the red and green channels to reduce blue tinting and yield an image that appears more orange and warm.

The previous image, rebalanced to be more orange

Color balance also relates to color temperature, which describes the quality of light in an image. For example, sunlight is generally more bluish than tungsten light, which is more orange. In professional film and video productions, white-balancing the camera before shooting usually ensures that whites in an image are neutral (with all three color channels balanced evenly). However, film stocks, optical filters, and digital white-balance settings can modify the tint of an image.

Note: The imbalanced color channels caused by a dominant color temperature in the lighting of an image is often referred to as a color cast.

You can use the Color Balance filter to adjust the three color channels of an image to eliminate a color cast or introduce one. Here are some uses for the Color Balance filter:

Correct problems in lighting: For example, you can rebalance an image that’s too orange to appear more neutral.
Match two images to one another: For example, you can match the quality of light on an actor in a foreground green screen clip to the lighting in a background image.
Stylize the color of an image used in a creative composition: For example, you can create a high-contrast, blue-tinted silhouette from the image of two actors dancing for a title sequence.

The Color Balance filter doesn’t just let you rebalance the overall strength of an image’s three color channels, it also lets you rebalance color specifically in three tonal zones of an image: shadows, midtones, and highlights. Three correspondingly named color controls let you make color balance adjustments in each zone of image tonality.

To make an adjustment to a zone, click the corresponding color well to open the macOS Colors window, then drag in the color wheel. As you drag, the image updates. Dragging in a specific hue’s direction rebalances the image, tinting it with that hue. The farther toward the edge of the color wheel you drag, the more intensely you tint the image.

Using Colors window to rebalance color of an image

Tip: You can use any controls in the macOS Colors window to make color adjustments, including sliders, web-safe colors, and the magnifying glass picker. Further, you can save frequently used tints by dragging a color from the color bar at the top to an empty white swatch below. Clicking a filled swatch selects that color.

The adjustments to shadows, midtones, and highlights of an image overlap widely. For example, adjustments to shadows affect the darkest parts of the image the most, but the effect also influences midtones and lower highlights. This overlap ensures that adjustments you make blend seamlessly with the original colors of the image.

Note: Although you can make small contrast adjustments using the vertical lightness slider in the color wheel pane of the Colors window, it’s better to use a Contrast filter or a Levels filter to adjust the overall lightness and darkness of an image.

Adjust this filter using the parameter controls in the Filters Inspector:

Shadows: Adjusts color channels in the darkest regions of the image. Click the color well to open the Colors window, then adjust the color balance of the darkest portion of the image. An eyedropper lets you sample any color in the canvas for use in balancing the image. You can also click the disclosure triangle to reveal individual red, green, and blue channel sliders, with a numeric range from 0 (no color) to 0.5 (unaltered color) to 1.0 (maximum color).
Midtones: Adjusts color channels in midtone regions of the image. Click the color well to open the Colors window, then adjust the color balance of the range of color falling between shadows and highlights. An eyedropper lets you sample any color in the canvas for use in balancing the image. You can also click the disclosure triangle to reveal red, green, and blue channel sliders with a numeric range from 0 (no color) to 0.5 (unaltered color) to 1.0 (maximum color).
Highlights: Adjusts color channels in the lightest regions of the image. Click the color well to open the Colors window, then adjust the color balance of the brightest portion of the image. An eyedropper lets you sample any color in the canvas for use in balancing the image. You can also click the disclosure triangle to reveal red, green, and blue channel slider with a numeric range from 0 (no color) to 0.5 (unaltered color) to 1.0 (maximum color).
Boost: Multiplies the values set in the Shadows, Midtones, and Highlights parameters. This is useful when using Color Balance for exposure balancing, allowing you to “blow out” an image. A boost applied to strong colors may yield unexpected results.
Clip Color Values: Turns clipping on and off. Clipping prevents color adjustments from forcing color values out of the allowable range. Clipping can prevent illegal signal levels in clips that are output to video. There are four menu options:
- None: No clipping occurs.
- At White: Any color channel exceeding the maximum value of 1 is clipped to 1.
- At Black: Any color channel falling below the minimum value of 0 is clipped to 0.
- At Black and White: All color channels are clipped to a minimum of 0 and a maximum of 1.
Mix: Sets the percentage of the original image that’s blended with the color-corrected image.

Kasulik?

Motion User Guide

Color Balance filter in Motion