Welcome
What’s new in Motion
- 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

Mask controls in the Inspector in Motion

A selected mask’s parameters appear in the Mask Inspector. These controls allow you to adjust how the mask is drawn, how each mask operates upon an object, and how masks are combined with one another. The Mask Inspector also lets you fine-tune mask control point positions.

The Mask Inspector contains the following adjustable controls:

Mask Controls

Roundness: A slider (available when a simple rectangle mask, Bezier mask, or B-Spline mask is selected) that adjusts the roundness of mask corners. Use this control to create rounded rectangles or to smooth the edges of a mask.
Preserve Scale: A checkbox (available when a simple rectangle mask, Bezier mask, or B-Spline mask is selected) that controls whether the Roundness setting is absolute or relative to the overall mask size. When the checkbox is selected, the roundness remains at the same approximate percentage of curvature as the object is scaled. When the checkbox is deselected, the curvature varies as the overall mask changes size.
Curvature: A slider (available when a simple circle mask is selected) that adjusts the degree of curvature of the circle. When set to 100 percent, the mask is elliptical. When set to 0 percent, the mask is a rectangular.
Radius: A slider (available when a simple circle mask is selected) that controls the width (X) and height (Y) of the mask. Click the disclosure triangle to reveal individual X and Y sliders.
Size: A slider (available when a simple rectangle mask is selected) that controls the size of the mask. Click the disclosure triangle to reveal individual Width and Height sliders.
Shape Type: A pop-up menu (available only for complex shapes) that sets the type of control points used to define the mask. For example, if you originally created a Bezier mask, you can choose B-Spline from this menu to change how the mask is drawn. Changing the shape type might dramatically change the mask’s form even though its control points remain fixed at their original coordinates. There are three options:
- Linear: All of a mask’s control points are joined by hard angles, and the resulting mask is a polygon. The control points of a Linear mask lie directly on its edge.
- Bezier: Control points can be a mix of Bezier curves and hard angles, creating any sort of mask. The control points of a Bezier mask lie directly on its edge.
- B-Spline: Control points are all B-Spline points, with different degrees of curvature. B-Spline control points lie outside the surface of the mask, but are connected by the B-Spline frame.
  Note: You can hide the B-Spline frame by deselecting the Lines menu item in the View pop-up menu above the canvas.
Mask Blend Mode: A pop-up menu that determines how a mask interacts with the alpha channel of the layer to which it’s applied. When a layer has multiple masks, each mask can have a different Mask Blend Mode. When this happens, each mask adds to, or subtracts from, the layer’s alpha channel according to the selected mode. The final alpha channel is the combined result of all masks applied. There are four menu options:
- Add: Removes all pixels from areas outside the mask shape. Each new mask adds more transparency, letting more of the underlying image show through. The Add blend mode (the default for new masks) is useful for adding back regions of an image that other masks are cutting out or when masking multiple areas that do not intersect in a single image. In the following example, both the rectangle and circle masks remove areas outside of the mask shapes, revealing the underlying black canvas.
  If the layer contains an alpha channel, a mask set to Add mode reveals only the masked section of the original alpha channel.
  Note: To display the rest of a masked layer so you can trace it to create a second mask, turn off the first mask in the Layers list or Timeline. The outline of the first mask remains visible, even though it’s no longer affecting the layer’s transparency.
- Subtract: Removes all pixels from the area inside the mask shape, effectively punching a hole in the image. In the following example, the rectangle and circle masks punch a hole through the blue gradient object, revealing the underlying black canvas.
- Replace: Completely replaces the image object’s alpha channel as well as any other masks that appear beneath the mask in the Layers list. In the following example, the circle mask overrides the rectangle mask, because the circle mask (set to Replace) appears above the rectangle mask in the Layers list. See Combining multiple masks in Motion.
- Intersect: Shows pixels only in regions where masks overlap. In the following example, only the overlapping areas of the rectangle and circle masks are visible.
  In another example, if you import a TIFF file with an alpha channel and you want to cut out part of it without losing alpha information, you must use the Intersect blend mode. This is also true for layers with keying filters applied.
Invert Mask: A checkbox that, when selected, reverses the mask—swapping its solid and transparent areas. This is useful if you need to switch the solid and transparent areas of an existing mask.
Tip: You can apply different filters and effects to the foreground and background of an image by first masking the foreground subject, duplicating the layer and its mask, then inverting the duplicate layer’s mask. Effects applied to the background can then be completely isolated from the foreground, or vice versa. You can adjust the opacity of a mask in the Properties Inspector.
Feather: A slider that softens the edges of a mask. Positive feathering values soften the edge of the mask from its edge outward. Negative feathering values soften the edge of a mask inward from the edge. Feathering the edge of a mask can soften a harsh rotoscoping job, making the masked object blend more easily with the background.
Falloff: A slider that controls how “steep” the feathering is. Higher values result in feathering that’s pushed farther inward, so the edge of the feathering effect is more transparent. Lower values result in the “core” of the feathering effect being pushed farther outward, so the edge of the feathering effect is less transparent.
Fixed Feather: A checkbox that controls feathering when a mask is scaled using the Scale parameter in the Properties Inspector (or using the 2D or 3D Transform tools in the canvas).
- Set the feather to ignore scaling: Turn the checkbox on. Feathering is applied after the mask is scaled, so scaling only affects the mask (not the feathered edge). If you adjust the scale disproportionately, the feathering remains constant.
- Set the feather to scale with the mask: Turn the checkbox off. Feathering is applied before the mask is scaled, so scaling affects both the mask and the feathered edge. If you adjust the scale disproportionately, feathering variations are introduced.
Note: When you scale a mask using the Size or Radius parameters in the Mask Inspector, the Fixed Feather checkbox has no effect.
Mask Color: A pop-up menu that controls the color of the mask as displayed in the canvas when it’s selected. This setting has no effect on the final output. Setting masks to different colors may aid you in identifying which mask is which.
Convert to Points: A button (available when a simple mask is selected) that, when clicked, converts a simple mask to a complex mask with editable control points. See Convert a shape or mask to control points in Motion.

Control Points controls

When a complex mask with control points is selected, this list becomes available, displaying the X and Y position parameters for the mask’s control points. The Control Points list also contains a single Animation menu (the down arrow that appears when you move the pointer over the right side of the Control Points heading row) that affects all the control points, letting you add keyframes, reset the shape’s animation, display the animation curve in the Keyframe Editor, and so on. For more information on using the Animation menu, see Animation menu controls in Motion.

To show or hide the Control Point lists, double-click the Control Points name in the Inspector.

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Motion User Guide

Mask controls in the Inspector in Motion

Mask Controls

Control Points controls