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

Intro to wide color gamut and HDR in Motion

No image device is capable of capturing and displaying the full spectrum of colors visible to the human eye. Consequently, image devices record, edit, display, or output a subset of those colors. This range of reproducible color is known as the device’s color space or color gamut. Because Motion projects often involve media captured or created from different sources, and because color gamuts vary from device to device, Motion employs a color-management system to reconcile those color differences. This ensures that an image looks the same on any output device, regardless of what color space it’s encoded in or how it was originally created.

Standard-gamut versus wide-gamut color

Traditional computer displays and HDTVs support a limited color space that’s based on a decades-old industry standard called Rec. 709. Rec. 709 devices (and the video content created for display on them) have standard-gamut color, the constrained color palette you see whenever you view a broadcast HDTV show, DVD, or Blu-ray disc.

A more recent generation of displays—including 4K televisions and computer displays, Apple TV 4K, and newer Mac, iOS, and iPadOS devices—can render a much wider palette of colors. These wide-gamut color devices display more vivid and lifelike hues (in addition to all the hues that standard-gamut devices can display). Accordingly, the video industry has adopted a wide-gamut color standard called Rec. 2020. Although most currently available wide-gamut devices support only a subset of the colors contained in the full Rec. 2020 specification, future imaging devices should be able to render more and more of those hues.

High dynamic range (HDR)

Additionally, some newer imaging devices can display extra levels of brightness in each color component (red, green, and blue) in a way that more closely reproduces how the human eye perceives contrast. These high-dynamic-range (HDR) displays typically process video at 10 bits per color component rather than 8 bits. The additional color data lets HDR displays render more discrete steps from the minimum to maximum brightness value in each color, creating more realistic color transitions and revealing more detail in both shadows and highlights.

A split-screen image comparing standard 4K and 4K HDR

Wide-gamut color and HDR in Motion

Using profiles, or tags (assigned by the device upon creation) that describe the color space of the media, Motion identifies the media’s colors. If the media was not profiled by the device (or was profiled incorrectly), you can manually override the assigned color space in your Motion project. The computer display profile then tells Motion how to translate the colors to the display’s color space. And then when you export from Motion, the color-matching process algorithmically maps those colors to the output space of the project.

You can choose between two project color processing options in Motion:

Standard: Sets the working color space to linear RGB with Rec. 709 color primaries, the color space that previous versions of Motion have used. Rec. 709 is the current standard for HDTV projects, including HD cable, Blu-ray discs, and most streaming video today.
Wide Gamut HDR: Sets the working color space to linear RGB with Rec. 2020 color primaries, a color space with a wider range of colors than Rec. 709. Rec. 2020 is useful for 4K and 8K UHDTV and HDR projects.

To view the wider range of colors in Rec. 2020, it’s recommended that you use a wide-gamut HDR display. See Wide-gamut HDR tips in Motion.

Nearly all devices and formats support capture in the Rec. 709 color space. Some devices and formats can also capture in the P3 and Rec. 2020 color spaces, which include a much wider gamut of colors.

Generally, your render color space should match your output color space (the color space you’re required to deliver the project in). If you’re rendering to multiple output color spaces, your render color space should match the output color space with the largest gamut.

For more information, see HDR and Wide Color Gamut in Final Cut Pro.

Kasulik?

Motion User Guide

Intro to wide color gamut and HDR in Motion

Standard-gamut versus wide-gamut color

High dynamic range (HDR)

Wide-gamut color and HDR in Motion