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

Adjust focus points in Cinematic mode video clips in Motion

When you record in Cinematic mode on iPhone, the Camera app automatically targets the most likely subject of focus in the scene. If another element comes into frame, the camera may automatically switch the focus to that subject. For example, if you’re focusing on one subject and that subject moves away from center (or the camera pans) and another subject comes into view, the camera may automatically focus on the second subject.

Once you’ve enabled Cinematic adjustments in Motion, you can lock the focus on subjects, switch the focus between subjects, or fix the focus on a point in the scene at a specific distance from the camera.

Cinematic mode video stills showing change in focus using Motion’s onscreen controls

Switch the focus in a Cinematic mode video clip

In the Motion Timeline, go to the frame that contains the subject you want focus on (or select an existing focus point in the Timeline).
Tip: To move to the next or previous focus point, choose Mark > Go to > Next Focus Point or Mark > Go to > Previous Focus Point.
In the canvas, click a suggested focus indicator (a white frame).
The current focus indicator (the yellow brackets) switches to the area you clicked. A manual focus point (a yellow dot) is added to the clip’s timebar in the Timeline. The subject you selected remains in focus (if possible) until the end of the clip or until the next focus point in the Timeline.

Lock the focus in a Cinematic mode video clip

In the Motion Timeline, go to the frame that contains the subject you want to lock focus on (or select an existing focus point in the Timeline).
In the canvas, click the current focus indicator (the yellow brackets) or double-click a suggested focus indicator (a white frame).
The indicator you clicked changes to the AF tracking lock (a yellow frame), and a manual focus point (a yellow dot) is added to the clip’s timebar in the Timeline. The focus remains locked on the subject you selected (if possible) until the end of the clip or until the next focus point (a white or yellow dot in the Timeline).
To turn off the AF tracking lock, click the center of the closed yellow frame.
The control reverts to the current focus indicator (yellow brackets).

If you retime a Cinematic mode video clip, you can’t adjust focus points. However, you can still adjust the clip’s depth of field.

Fix the focus at a specific distance from the camera in a Cinematic mode video clip

You can lock the focus on a specific point in the frame at a specific distance from the camera using AF lock. AF lock is useful, for example, when you want to maintain focus on a specific spot in the scene—regardless of the subject’s movement. If you set the AF lock to the scene’s middle ground, a blurred subject in the background can move into focus in the middle ground, then become blurry again moving into the foreground.

In the Timeline in Motion, go to the frame where you want to add a fixed-focus point.
In the canvas, do one of the following:
- Set a fixed-focus point from the current playhead position to the next manual focus point: Move the pointer to the area in the canvas where you want to lock focus, press and hold the mouse button, then release it.
  A small yellow square with long tick marks appears in the canvas and is labeled AF Lock, indicating the depth of the selected point in the scene. A manual focus point (a yellow dot) is added to the clip’s timebar in the Timeline, and subsequent automatic focus points (white dots) are overwritten.
  Focus is maintained at the specified distance from the camera. The focus doesn’t follow a subject, and it remains locked on the area you selected until the next manual focus point (yellow dot) in the Timeline, or until the end of the clip.
- Set a fixed-focus point from the current playhead position to the next manual or automatic focus point: Click the area in the canvas you want to lock the focus on.
  A small yellow square with short tick marks appears in the canvas. A manual focus point (a yellow dot) is added to the clip’s timebar in the Timeline, and no subsequent focus points (white or yellow dots) are overwritten.
  The focus doesn’t follow a subject, and it remains locked on the area you selected until the next manual focus point (yellow dot) or automatic focus point (white dot) in the Timeline, or until the end of the clip.
Note: If the fixed focus point falls outside of the clip’s depth-of-field range, AF lock doesn’t bring the point into focus.

If you retime a Cinematic mode video clip, you can’t adjust focus points. However, you can still adjust depth of field.

Delete a focus point in a Cinematic mode video clip

Click a manual focus point (yellow dot) in the Timeline, then click Delete Focus Point.

Note: Pressing the Delete key when a Cinematic clip is selected deletes the entire clip.

Deleting a manual (yellow) focus point in the Timeline

You cannot delete or modify automatic focus points (white dots in the Timeline). Although automatic focus points may be overwritten when you add manual focus points, they’re restored when the manual focus point is deleted.

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Motion User Guide

Adjust focus points in Cinematic mode video clips in Motion

Switch the focus in a Cinematic mode video clip

Lock the focus in a Cinematic mode video clip

Fix the focus at a specific distance from the camera in a Cinematic mode video clip

Delete a focus point in a Cinematic mode video clip