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

Audio parameter behavior in Motion

The Audio parameter behavior performs an analysis of a specific property of an audio track, then applies an animation curve to a parameter of another object in your project based on that analysis. You can apply the Audio parameter behavior to parameters of filters, replicators, shapes, particle systems, lights, text, and even other behaviors to make your visuals pulse in sync to the beat of a soundtrack.

Adjust this behavior using the controls in the Behaviors Inspector:

Source Audio: A source well that sets the audio track from which to read audio data. Drag an audio clip or a video clip containing audio into the Source Audio well, or use the pop-up menu to choose a source for audio analysis.
Note: For the Audio parameter behavior to have an effect on an object, audio must be present in the Audio Timeline at the position of the behavior.
Respond To: A pop-up menu that sets the type of audio data analysis to perform. Choose Amplitude or Transients. If set to Amplitude, the behavior responds to peak values of a particular frequency. If set to Transients, the behavior responds to rapid changes in frequency.
Graph Range: A pop-up menu that sets the initial range of frequency values to be analyzed by the behavior. There are four options: All Frequencies, Bass, Mid, or Treble. The option you choose affects the frequency range of the Low Frequency and High Frequency parameters (described below).
Audio Graph: A graph displaying a visual representation of the Source Audio data analyzed by the behavior per frame.
Click the Play button beneath the Audio Graph to see the selected Source Audio data as it plays back live. If analysis underway, a progress bar appears in the Audio Graph area. The Output level meter shows the amount of audio data from this behavior being sent to the visual effect in Motion. (Output is controlled by the Scale slider, described below.)
Set Low Frequency, High Frequency, Floor, and Ceiling values by dragging the small tags along the bottom or right side of the graph. Alternatively, you can set these values numerically using the four sliders underneath the graph to isolate specific frequencies and values for analysis:
Low Frequency: A slider that sets the low frequency threshold of audio analysis. Only audio frequencies above this value are analyzed. Values range from 1 Hz to 22,050 Hz.
High Frequency: A slider that sets the high frequency threshold of audio analysis. Only audio frequencies below this value are analyzed. Values range from 1 Hz to 22,050 Hz.
Floor: A slider that sets the minimum value of audio input, below which results are ignored. Values range from 0 to 1.
Ceiling: A slider that sets the maximum value of audio input, above which results are ignored. Values range from 0 to 1.
Smoothness: A slider (available when Respond To is set to Amplitude) that sets the window size to smooth the result curve. Any value other than 0 triggers a keyframe reduction with an error tolerance of 1%. Values range from 0 to 10.
Note: Depending on your audio file, Smoothness values greater than 7 may result in audio playing out of sync.
Sensitivity: A slider (available when Respond To is set to Transients) that sets the sensitivity of the transient detection. Values range from 0% to 100%.
Channel: A pop-up menu that sets the audio channel to analyze. Choose Mix/Mono, Left, or Right.
Note: With a multichannel audio file used as a source, you must select Mix/Mono for audio analysis to be performed properly.
Peaks: A pop-up menu that sets how Motion generates peak curves in the Keyframe editor based on audio analysis data. Changing peak options affects how the Audio behavior is applied to its parent object. There are four menu options:
- Sharp: Peaks are generated from the maximum amplitude of the audio channels you choose from the Channel parameter and the frequencies you set in the Graph Range. You can adjust which portion of the audio bandwidth is analyzed using the Graph Range pop-up menu and the sliders in the Audio Graph. When Respond To is set to Transients, two keyframes are added before and after each transient keyframe (attack and release), and the transient keyframes are interpolated as linear sharp peaks.
- Smooth: Peak curves are generated from the average amplitude of the audio channels you choose from the Channel parameter and the frequencies you set in the Graph Range. You can adjust which portion of the audio bandwidth is analyzed using the Graph Range pop-up menu and the sliders in the Audio Graph. When Respond To is set to Transients, two keyframes are added before and after each transient keyframe (attack and release), and the transient keyframes are interpolated as smooth curves.
- Square: When Respond To is set to Transients, this option appears. Two keyframes are added before and after each transient keyframe (attack and release), and the transient keyframes are constantly interpolated as square peaks.
- Continuous: When Respond To is set to Transients, this option appears. The transient values are interpolated with no additional processing and appear as is.
Attack: A slider (available when Respond To is set to Transients) that modifies the animation curve to the amount of the offset in frames between the peak of the curve generated by the Audio behavior and the first frame of the curve. The number of frames that the curve takes to reach its peak value from its initial value is called the Attack.
Release: A slider (available when Respond To is set to Transients) that modifies the animation curve to the amount of the offset in frames between the peak of the curve generated by the Audio behavior and the last frame of the curve. The number of frames that the curve takes to reach its final value from its peak is called the Release.
Apply Mode: A pop-up menu that sets the method by which the audio analysis affects the curve. Choose Add, Subtract, Multiply, or Add and Subtract.
Delay: A slider that sets a delay in frames to offset the resulting keyframes.
Scale: A slider that sets the scale factor to affect the result of the audio analysis.
Apply To: A parameter assignment pop-up menu that sets the object parameter to which the audio behavior is applied.

Kasulik?

Motion User Guide

Audio parameter behavior in Motion