Welcome
- What’s new in Motion 5.6.4
- What’s new in Motion 5.6.1
- What’s new in Motion 5.6
- 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 for Mac templates
- - Template workflow
  - Placeholders vs. drop zones
- - Convert a Motion project to a Final Cut Pro 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

Tips for color processing in templates in Motion

To get the best results when creating templates that automatically conform to the Final Cut Pro for Mac project color space, consider the following suggestions:

If you’re creating a template that includes SDR and HDR elements, or plan to work in multiple color spaces in Final Cut Pro, set your template’s Color Processing (in the Project Properties Inspector) to Automatic. The effect, transition, title, or generator automatically conforms to the color space of the Final Cut Pro project it’s applied to. See Create templates that automatically conform to the Final Cut Pro color space.
All objects you create in Motion—text, shapes, particles, replicators, and so on—are SDR elements, regardless of the project’s color space. In a template with color processing set to Automatic, SDR elements are inverse tone mapped to display correctly in HDR.
When a template’s color processing is set to Automatic, the HDR White Level slider becomes available in the Project Properties Inspector. Use the HDR White Level slider to adjust the brightness of SDR elements to better match the higher brightness levels of HDR media as you build your template.
To adjust the brightness of SDR elements once the template is applied to an HDR Final Cut Pro project, publish the HDR White Level slider.
An HDR White Level slider published with a template is available only in HDR HLG or HDR PQ projects in Final Cut Pro. (The slider is not available when the template is applied to an SDR project in Final Cut Pro.)
In general, if you apply a template to a Final Cut Pro project that contains HDR images or clips, adjusting the HDR White Level slider has no effect on the brightness of the HDR media. For example, when a Final Cut Generator that includes text and particles using an HDR image as the particle cell source is added to the Final Cut Pro timeline, adjusting the HDR White Level slider affects the brightness of the text, but doesn’t affect the brightness of the particles.
However, when a template that includes a filter that processes in SDR is applied to HDR media, the image or clip is may be affected by the HDR White Level slider. For example, when a Final Cut Effect that includes the Tint or Glow filter is applied to an HDR clip in the Final Cut Pro timeline, adjusting the HDR White Level slider affects the brightness of the HDR clip. See About filters and color processing.
With the exception of the Color Balance filter, any Motion filter that includes a color well (such as Tint, Bevel, or Glint) processes color in SDR and is affected by the HDR White Level slider.
Many of the effects, transitions, titles, and generators that ship with Final Cut Pro include a Graphics HDR Level slider. This slider has the same functionality as Motion’s HDR White Level slider.
When you apply templates containing SDR elements (such as text or shapes) created in Motion to HLG or PQ Final Cut Pro projects, keep in mind that any SDR elements that appear too dim on a bright HDR clip may appear differently on a darker HDR clip. The brightness of the SDR elements doesn’t change—only the perception of it against different backgrounds.
When you apply templates containing SDR elements to the Final Cut Pro timeline, the SDR elements are automatically tone mapped. It’s usually not necessary to adjust the Color Conform controls in the Final Cut Pro Video Inspector.
A template’s Color Processing setting may affect the appearance of your project. For example, when the project is changed from Standard Gamut SDR to Wide Gamut HDR or Automatic, the effect of some filters or blend modes may change in appearance.
Because templates are applied directly to media in the Final Cut Pro timeline, it’s recommended that you perform most color correction in Final Cut Pro to view changes in context. Final Cut Pro provides video scopes and other tools that precisely measure the luma and chroma levels of your media in different color spaces. See Intro to color correction in the Final Cut Pro User Guide for Mac.
However, if you’re creating a template that includes media—such as an image or clip used in a logo, lower-third title, or as a particle cell source—you can use the Color Adjustments filter to adjust the highlights, midtones, shadows, or other color parameters of the image. You can also publish the Color Adjustments filter parameters to adjust settings once the template is applied to a Final Cut Pro project.
Although you can publish an image or clip’s Color parameters (in the Properties Inspector in Automatic projects), this workflow is not supported in Final Cut Pro. To convert media, use the Color Conform controls in the Final Cut Pro Video Inspector. See Automatic color management in the Final Cut Pro User Guide for Mac.
If you’re unsure of an imported clip’s format (HLG, PQ, and so on), select the clip in the Media list, then check its metadata in the Media Inspector.
To determine the nits value of an image or clip, you can display HDR luminance values in the Motion canvas.
In earlier versions Final Cut Pro, a template that contained certain filters could clip the HDR media the template was applied to. Final Cut Pro 10.6.6 now automatically tone maps templates, preventing clipping in most projects. In a few cases, however, applying a Motion template to a PQ clip (with peak luminance levels greater than 1,000 nits) in the Final Cut Pro timeline may clip the media (or dim the project’s output).
If you apply a Motion template that contains SDR elements (or filters that process in SDR) to a PQ clip with very high nits values, you may see unexpected results.
For general template guidelines, see Guidelines for creating templates in Motion.

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Motion User Guide

Tips for color processing in templates in Motion