Motion 5 4 1

Motion

Developer(s)	Apple Inc.
Stable release	5.4.6 / August 25, 2020; 49 days ago[1]
Operating system	macOS 10.14.6 or later
Size	2.3 GB
Type	Compositing/Visual Effects/Animation
License	Proprietary
Website	Apple: Motion

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Motion Factory is a set of After Effects FREE plugins for motion graphics. Make Cartoon FX, Particles, HiTech HUD, animated Kinetic Typographies & Titles, transition, Glitch effects, Glitch text & titles, motion graphics presets, 2D animation video in After Effects and Premiere Pro. Apple Motion 5.4.6 add to watchlist send us an update. Buy now $ 49.99. 5 screenshots: runs on: macOS 10.14.6 or later (Intel only) file size: 2.3 GB main category: Multimedia developer: Apple visit homepage. Top alternatives FREE Apple QuickTime CINEMA 4D Adobe Premiere Pro.

Motion is a software application produced by Apple Inc. for their macOSoperating system. It is used to create and edit motion graphics, titling for video production and film production, and 2D and 3D compositing for visual effects.

History[edit]

The original product, codenamed 'Molokini,' was previewed at a NAB event on April 19, 2004.

Version 1.0 was made available on August 11, 2004.^[2]

At a pre-NAB event in April 2005, Apple released Motion 2 along with new revisions of the other Pro applications, optimised for the Power Mac G5 and Mac OS X 10.4.Features introduced in Motion 2:^[3]

• 32-bit Rendering
• Replicators
• New filters
• MIDI behavior
• After Effects integration

In January 2006 Apple stopped selling Motion as a stand-alone product. Introduced at NAB in Las Vegas on April 15, 2007, Motion 3 was included as part of the Final Cut Studio 2 suite.Features introduced in Motion 3:^[4]

• 3D multiplane environment - 2.5D compositing
• 3D text behaviors
• Vector-based paint strokes
• Point tracking and match moving
• Image stabilization and SmoothCam
• Synchronized Audio behavior
• Dynamic retiming behaviors
• Advanced Keyframe Editor - keyframe pen tool, transform box
• Final Cut Pro integration - Motion 3 master templates

Motion 4 was introduced on July 23, 2009.^[5]New features included:^[6]

• 3D Shadows
• 3D Reflections
• Depth of Field
• Credit Rolls
• Adjust Glyph tool
• Parameter Link behavior
• Camera framing
• Improved Sequence Text behavior, plus new presets
• New text generators
• New graphics generators
• New filters
• Multi-touch gesture support
• ProRes 4444 support
• Background export

Motion 5 was introduced on June 21, 2011.^[7] It is available through the Mac App Store at a reduced price of $49.99. Motion 5 is now sold as a stand-alone product.New features:

• Final Cut Pro X plugin generation
• Parameter rigs
• New keyer
• 64-bit architecture

Motion 5.2 was released on April 13, 2015.New features:^[8]

• 3D text
• New generators
• Improved shapes
• Improved keyframing

Motion 5.3 was released on October 27, 2016.^[9]

• Wide colour
• Improved Link parameter behavior
• New Align To behavior
• Improved 3D text

Motion 5.4 was released on December 14, 2017 with new features:^[10]

• 360 VR motion graphics support
• The ability to switch a current Motion document to be a Motion project, Final Cut Pro generator, Final Cut Pro title, Final Cut Pro effect, or Final Cut Pro transition
• New Overshoot animation behavior
• New filters for different photographic looks
• Import, playback, and editing of HEVC video clips and HEIF photos.
• Faster optical flow analysis

Motion 5.4.1 was released on April 9, 2018.^[11]New feature:

• ProRes RAW
• Bug fixes

Motion 5.4.2 was released on November 15, 2018.New features:^[12]

• Advanced color grading
• Comic filter
• Tiny Planet filter - for displaying 360° spherical video in non-360° projects
• Bug fixes - including use of Core Text engine for improved display of non-roman text

Motion 5.4.3 was released on March 21, 2019.New feature:^[13]

• Post-macOS Mojave media compatibility checker

See also a release history in context with the rest of Final Cut Studio.

Market position[edit]

Motion is a motion graphics and compositing application similar in some ways to After Effects and Nuke. With version 3, Apple added 3D compositing, vector paint, and motion tracking to Motion's toolbox. This added power, plus the GPU accelerated nature of Motion, allows it to be seen as an alternative to those packages for titling and simple animation projects.

Features[edit]

Features of Motion include the ability to create custom particle effects (as well as using pre-built ones) and to add filters, effects and animations in real time. Motion has the ability to address up to 32 GB of RAM and GPU acceleration at 8-bit, 16-bit and 32-bit float color depths. Motion 2 can also integrate with a MIDI keyboard, so that parameters can be controlled by keys or faders; this opens up the possibility of real time parameter input into Motion. In addition Motion 3 now allows for complete 2D and 3D compositing in a multiplane environment.

Behaviors[edit]

As well as supporting traditional keyframe animation, Motion introduced a system of pre-set 'behaviors' which can be combined to create realistic animations. For instance, the 'throw' behaviour will move an object across the screen. Combined with the 'gravity' behavior, it will simulate a realistic arc of motion. The effects can be tweaked utilizing various parameters, varying the strength of the bounces, the amount of gravity to apply and so on.

This is very different from traditional animation software, which requires the use of keyframes to determine the position of an object at any given time. Such software then automatically creates motion to fill the spaces between the keyframes. This makes it easy to know exactly where objects are on the screen at any given time, but it is considerably more difficult to create realistic animations that build up on different, conflicting forces.

The Replicator and Particle Emitters[edit]

In Version 2 a new 'replicator' function was introduced, which allows an object to be replicated to create a repeating pattern of a specified size and shape. With this tool, it is possible to create animations in which the elements of a replicated pattern move in sequence.

'Particle emitters' allow the user to set a pre-drawn shape to rapidly generate copies of itself and emit them across the screen. The direction and intensity can be adjusted, and combined with behaviors to create very complex animations quickly and easily. For example, a particle emitter used in conjunction with a star shape and the 'vortex' behaviour would animate a circle of swirling stars.

The H.U.D.[edit]

Motion features a floating semi-transparent window ('heads-up display', or HUD) which displays the most commonly altered parameters of the object or effect currently selected. This allows the user to make quick adjustments without having to search through palettes and menus. However, exact numerical values cannot be entered in this window. For more precise editing, consult the Inspector window.

Tools[edit]

Motion has the following tools available for the creation or manipulation of graphics on the canvas:

• Anchor point - each object has an 'anchor point' that acts as the centre of rotation or enlargement.
• Four Corner, which changes the perspective of objects.
• Bézier curve adjustment
• Rectangle, ellipse, Bézier curve and B-spline creation tools.
• The text tool.
• Rectangle, ellipse, Bézier and B-spline masking tools (which define the part of an object that is visible).

These tools can be accessed from the toolbar at the top of the screen or with keyboard commands.

Recording[edit]

Recording is used for adjusting an object over a specific amount of time by placing and manipulating keyframes. The recording button is a red dot button adjacent to the play/pause features. When the button is selected, it lights up red and the dot turns white. Any adjustments made when the button is selected are saved as keyframes. Keyframes act as placeholders that solidify an object's characteristics at a single frame (anything from position and rotation to cropping and size). Using multiple recordings, an object shall reorient itself between the two keyframes to match each set characteristics. Recording can act as an alternative to movement behaviors that allow more in-depth adjustments.

How Motion works[edit]

Motion uses pixel shaders which move the processing of video effects to the Graphics Processing Unit (GPU) of a modern graphics card. Motion is also compatible with Apple's Core Image technology, allowing one to use the Image Units that come standard with Mac OS X Tiger. Like pixel shaders, Core Image 'stacks' various effects, allowing a number of effects to be combined together without slow-down. A faster graphics card improves performance. Motion is also the first Pro App to introduce FxPlug Apple's plug-in architecture that allows for GPU acceleration.

In Motion, users import their own graphics files and use pre-prepared graphics such as text and shapes. Objects can be grouped into layers, but they always retain their own distinct identity. These various parts are then grouped into a single layer. Selecting that layer permits moving all of the objects as a single body...

Similar products[edit]

• Nuke – The Foundry
• Combustion, Toxik and Smoke – Autodesk
• Fusion – Blackmagic Design
• Boris RED – Boris FX

While not dedicated to compositing, the open source software Blender contains a limited node-based compositing feature which, among other things is capable of basic keying and blurring effects.^[14]

References[edit]

• Wiggins, P. (August 2004). Motion 1. First review of Motion'.[1]
• Lindsay, A. (November 2004). Motion. DV, 12, 54 – 58.[2]

1. ^https://support.apple.com/HT202203
2. ^'Apple - Motion'. Archive of www.apple.com. Internet Archive Wayback Machine. Archived from the original on August 11, 2004. Retrieved May 15, 2019.
3. ^'Final Cut Studio - Motion'. Archive of www.apple.com. Internet Archive Wayback Machine. Archived from the original on May 11, 2005. Retrieved July 12, 2017.CS1 maint: BOT: original-url status unknown (link)
4. ^'Motion 3. What's New'. Archive of www.apple.com. Internet Archive Wayback Machine. Archived from the original on March 3, 2008. Retrieved July 12, 2017.CS1 maint: BOT: original-url status unknown (link)
5. ^'Apple press release: 'Apple Updates Final Cut Studio with More Than 100 New Features''. www.apple.com. Apple. Retrieved July 12, 2017.
6. ^'What's new in Final Cut Studio'. Archive of www.apple.com. Internet Archive Wayback Machine. Archived from the original on May 19, 2010. Retrieved July 12, 2017.CS1 maint: BOT: original-url status unknown (link)
7. ^'Apple press release: 'Apple Revolutionizes Video Editing With Final Cut Pro X''. www.apple.com. Apple. Retrieved July 12, 2017.
8. ^'Apple support page: 'Motion 5 release notes''. www.apple.com. Apple. Retrieved July 12, 2017.
9. ^'Apple press release: 'Apple releases significant update to Final Cut Pro X''. www.apple.com. Apple. Retrieved July 12, 2017.
10. ^'Apple Releases Motion 5.4 With Support for 360 VR Motion Graphics, HEVC, More'. www.iclarified.com. iClarified. Retrieved April 30, 2018.
11. ^'Apple press release: 'Final Cut Pro X update introduces ProRes RAW and advanced closed captioning''. www.apple.com. Apple. Retrieved May 15, 2019.
12. ^'Apple support page: 'Motion 5 release notes''. www.apple.com. Apple. Retrieved May 15, 2019.
13. ^'Apple support page: 'Motion 5 release notes''. www.apple.com. Apple. Retrieved May 15, 2019.
14. ^'Blender features page'. Retrieved March 19, 2011.

External links[edit]

Motion graphics and animation software
2D	3D	Mix
Free and open-source
Closed-source	Freeware	Clara.io, Daz Studio
	Commercial
	Discontinued / Legacy

Retrieved from 'https://en.wikipedia.org/w/index.php?title=Motion_(software)&oldid=975993759'

Motion is the powerful motion graphics tool that makes it easy to create cinematic 2D, 3D, and 360° titles, fluid transitions, and realistic effects in real time. And with its all-new Metal engine, Motion lets you build and play back effects at incredible speeds.

Your graphics in Motion.

Designed with editors in mind, Motion features a streamlined interface that lets you easily create titles, transitions, and effects for Final Cut Pro.

Design in a modern interface that matches the look of Final Cut Pro and puts the focus on your work. Easily locate assets using visual content browsers, then build motion graphics with a logical layers list, full-length timeline, and keyframe editor. It’s simple to customize the interface to match the way you work.

Motion is the best way to build effects for Final Cut Pro projects, including titles, transitions, generators, filters, and more. Save any effect to make it immediately available in Final Cut Pro, where you can apply adjustments right in the video editor. And at any time, instantly jump back to Motion for more advanced changes.

Create Smart Motion Templates that let you adjust your motion graphics within Final Cut Pro. Publish any parameter to a template, or create rigs that let you control a group of parameters with a simple slider, pop-up menu, or checkbox. If you set up templates with multiple aspect ratios, Final Cut Pro automatically uses the correct layout based on your footage.

Motion boasts an enormous ecosystem of third-party plug-ins and templates that complement the power of the app. Download tools for enhanced tracking and 3D object creation, or choose from thousands of templates with gorgeous titles, transitions, and effects to use as is or customize to fit your project.

With its modern Metal architecture, Motion uses the power of today’s high-performance GPUs to speed up tasks throughout the app and play back motion graphics in real time as you create them. And since Motion shares a render engine with Final Cut Pro, you’ll get consistent speed and quality across applications.

HDR

Design motion graphics in stunning High Dynamic Range with Motion. View HDR images on any recent Mac that displays an extended range of brightness. Or heighten your experience with the new Pro Display XDR, which connects with a single Thunderbolt cable to reveal the stunning beauty of your HDR effects.

Advanced color grading

Adjust hue, saturation, and brightness with the same advanced color wheels available in Final Cut Pro. Use color curves and hue/saturation curves in combination with the eye dropper to target and alter specific color ranges. And precise keyframe controls let you adjust color corrections over time.

Optimized for the all-new Mac Pro

Design and create faster than ever before with Motion on the new Mac Pro. Motion takes advantage of all the GPUs in your Mac and uses up to 28 CPU cores in processor-intensive ProRes workflows. Motion is also optimized for the Afterburner card to accelerate ProRes projects, so you can design motion graphics and watch your results instantly in groundbreaking 8K resolution.

360° video.
A new spin on your projects.

Motion features a robust 360 VR motion graphics workflow with real-time output to a VR headset, so you can design 360° titles, generators, and filters that perfectly map to your VR scene. Instantly apply those effects to your Final Cut Pro timeline or share to YouTube, Facebook, and Vimeo.

Create 360° titles in 2D and 3D. View them in real time with a VR headset or use the Look Around view to pan across your project in the viewer. 360° titles resize automatically when you move them within your VR scene and can be keyframed to change their look and position over time. Save your work as a 360° Motion template to access it easily in Final Cut Pro.

Design custom 360° graphics or apply bundled effects like 360° blurs, glows, and particle systems to add realism to your VR scene. You can even create 360° generators and place any graphic, still, or video into a 360° project — then reposition and resize to fit.

Create mind-bending effects with 360° video in non-360° projects. Adjust tilt, pan, roll, and field of view for spherical looks and animations. Then apply keyframes for perspective-inverting effects that change over time.

Powerful design tools.

Motion features a real-time design engine that lets you see your work immediately, along with a deep set of tools and content for creating and animating complex motion graphics.

Build brilliant 2D, 3D, and 360° compositions by choosing from more than 1900 Apple-designed, royalty-free graphics — including vector artwork, high-resolution images, and animated design elements.

Control the timing and position of elements in your animation using intuitive keyframe tools. Use flexible curve interpolation for smooth parameter changes. Draw curves using a freehand tool, or move, stretch, and condense groups of keyframes using the Transform box.

Create natural-looking motion without the need for complex calculations using preset behaviors like Gravity, Throw, and Vortex. Use Text behaviors that animate letters, words, or lines across the screen. Or apply the new Overshoot behavior to easily create spring-loaded animations. You can even combine behaviors for more advanced motion animations.

Create high-quality animated backgrounds with built-in generators, each with parameters to customize the look and style of the animation. Choose from a collection of standard shapes and unique designs. All generators can be used as bump maps or textures on other objects — including 3D text.

A 2D and 3D view of your titles.

Easily create beautiful 2D and 3D titles that you can animate with drag-and-drop behaviors and intuitive text animation tools.

Create text using your favorite fonts and adjust its position, opacity, and rotation. Manipulate vector-based characters with pristine sharpness, and apply Text behaviors to add complex word and character animations easily. Motion is built on the CoreText engine, which ensures that glyphs, characters, and emoji render correctly every time.

Build 3D titles from scratch, design them with easy-to-use templates, or instantly convert any existing 2D title to 3D. Customize your 3D text with over 90 Apple-designed organic and artificial materials — or create your own. You can even choose from a variety of lighting effects to give your 3D titles an ultrarealistic look that perfectly matches the environment.

Quickly animate text on or off the screen by choosing from more than 100 behaviors including Type On, Blur Out, and Text-on-a-Path, which sets your text in motion on a trajectory that angles, bends, or twists. You can also create unique animations by moving letters just where you want them.

With text generators you can automate tasks that would take hours to complete by hand. Count up and down in sequence, change text randomly, add a timecode sequence, and more.

Use Credit Rolls to set up a scroll in just a few steps — even for long lists of production credits. Import a text file or type the credits directly into a Motion project, then use the Scroll behavior to automatically animate the speed of the credits based on your project length.

Stunning effects.

Just drag and drop to assemble impressive animations, with a choice of more than 200 filters and effects built into Motion. Then fine-tune your work with precise controls.

Use realistic particle systems to create effects including smoke and sparkles — or add dazzling details to any animation. Choose from over 200 particle presets or design your own. Replicators let you set up mesmerizing, repeating patterns in 2D or 3D space and in 360° scenes, following a geometric shape.

Choose from over 140 paintbrush presets or design your own using color gradients or QuickTime files. Create pressure-sensitive brushstrokes that paint gradient colors or particle dabs. And easily make vector‑based strokes weave through 3D space.

Motion suggests the best tracking points so you can quickly create paths to track moving objects in any clip. You can attach images, particles, filters, paint strokes, or the control points of a mask to any tracking path.

Image stabilization lets you smooth a bumpy camera move or lock down a shaky shot, without time‑consuming setup. And SmoothCam eliminates jitters and bumps — so it looks like your footage was shot on a tripod while still retaining camera moves like pans, tilts, and zooms.

Create an accurate chroma key in a single step with the easy drag-and-drop Keying filter. If the green- or blue-screen background in your footage is unevenly lit, you can use advanced controls, including an intuitive color wheel, to fine-tune the results.

Comic filter

Give any photo or video a comic book aesthetic. Choose from three styles to instantly create color, grayscale, or monochrome artwork. Then refine the effect by adjusting ink edges, fill, and smoothness.

3D

Instantly transition from 2D to 3D space by adding a camera or cameras to any 2D project while preserving your 2D groups. Animate and adjust the cameras to create smooth, realistic 3D movement.

Shadows

Set up point lights and spot lights to cast shadows across objects. Fine-tune shadow appearance by specifying colors and edge types. When you set your elements in motion, shadows animate dynamically with the movement of objects and lights.

Reflections

Turn any shape, video plane, or paint stroke into a reflective surface. Add blur to soften reflections and use the Falloff feature to fade reflections as the object moves away from the light.

FxPlug

FxPlug is a powerful Apple‑designed plug‑in architecture for filters and effects. Choose from more than 130 built-in FxPlug filters and generators. And explore the thriving ecosystem of third‑party FxPlug effects that work in Motion and Final Cut Pro with custom interfaces and incredible real‑time performance.

Third-party tools to make your workflow flow.

Choose from thousands of custom transitions, titles, and motion graphics. Work directly with powerful applications through workflow extensions in Final Cut Pro. And take advantage of other third-party tools for advanced tracking, EDL and AAF interchange, and more.

Five amazing apps.
One powerful collection.

Unleash your creative potential with the Pro Apps Bundle for qualifying college students, teachers, and education institutions. Get all five professional applications for video and music creation at a special price — including Final Cut Pro X, Motion, and Compressor, along with Logic Pro X and MainStage.

The 5-out motion offense is a fantastic primary offense for basketball teams at any level, but especially youth basketball teams.

It’s a positionless offense that relies on spacing the floor and a set of rules that assists players to determine their movements and actions.

Due to players making decisions and reading the play of their teammates and defenders, the 5-out motion offense is great for teaching players how to play basketball.

Who Should Run the 5-Out Motion Offense?

As a positionless offense, I highly recommend the 5-out motion offense for all youth basketball teams since it allows all players on the team to develop into well-rounded basketball players.

This is important because it’s impossible to know which players will grow in height and which players won’t.

Countless times I’ve seen players who have matured and grown early in life get assigned to the post position only to have their teammates who developed at a later time quickly catch up to them.

When this happens the player who developed early has had barely any practice at dribbling, shooting from the outside, etc.

So it’s imperative that all youth coaches use a positionless offense like the 5-out motion offense.

But with that said (sorry for the rant), it’s especially a great offense for teams that lack height and want to run a fast offense with a lot of movement.

Strengths:

• Creates positionless players – All 5 players on the court are required to pass, cut, dribble, shoot, screen, etc. This is imperative for a great youth basketball offense.

• Can be used as a delay offense – If your league doesn’t have a shot clock and you want to hold up the basketball, the 5-out motion offense will provide movement and keep the defense honest while not looking at scoring options.

• Players learn how to play basketball – Don’t overlook this benefit. Players learn to read their teammates and defenders and make decisions accordingly. This is an important process that players won’t learn from running set plays all game.

• Every player contributes – When running this offense, one or two players can’t dominate the basketball. All players will be involved and must contribute to the team’s offense.

• Requires great spacing – If players are all in the correct positions, your team will always have great spacing at all times. This opens up driving lanes and makes it difficult for defenders to help each other.

• Difficult for opposition teams to scout – Since there are no ‘set’ passes or actions, teams won’t be able to work out a specific action they can stop to disrupt the offense.

• The opposition can’t crowd the key area – All defenders on the opposition team will be required to guard all areas of the floor. This prevents them from keeping their biggest players on the inside.

• Easy to teach due to progressions – One of the best things about the 5 out motion offense is that it can be taught in progressions. Players aren’t forced to learn the complete offense all at once which will overwhelm them.

Weaknesses:

• Not great for teams with one dominant player – If you have one or two dominant players that contribute the bulk of your team’s scoring, this might not be the offense for you if you want your team to continue to play that way. All players must contribute in the 5 out offense. Even the weaker players.

• Players can get stuck in the motions of the offense – When you first implement this offense with your team, you’ll find that they’re so focused on running the offense properly, that they forget to look for scoring opportunities.

• Sometimes difficult with a shot clock – Similarly to the above point, if your players aren’t constantly searching for scoring opportunities, the shot clock can play a factor and force your team to rush a shot with a few seconds left.

• Can take some time for players to master – While your players can quickly pick up the actions and movements of the 5 out, it does take time for players to learn how to quickly read the game and make smart decisions on the court.

5 Out Motion Rules

The 5 out motion offense is governed by 5 rules that players must follow at all times for the offense to run smoothly.

1. If your being denied and the player with the ball looks at you, back cut immediately – Never hesitate. This assumes you’re only being denied one pass away from the basketball.

2. If you believe you can attack the basket and score on your defender, do it – Players must understand their own abilities and the abilities of their defender. If a player thinks they can attack, they should do it immediately on the catch.

3. Players must square up to the rim when they have the basketball – A player can’t telegraph what they’re going to do by facing a certain direction. By squaring up, players can shoot, pass, or dribble.

4. Every action must be performed with purpose – If you cut, cut hard. If you’re screening, focus on setting a great screen. Never pass and stand still.

5. Spacing is always on the NBA three-point line – The NBA three-point line is about 2 feet behind the normal three-point line.

Setting Up the 5 Out Motion Offense

‘5 out’ simply means that all offensive players on the floor are starting outside the three-point line.

There are 5 spots that must always be filled unless players are performing an action like screening or cutting.

The five spots are:

1. Left corner
2. Left wing
3. Top
4. Right wing
5. Right corner

These spots should be on the NBA three-point line which is about 2 feet behind the regular three-point line used by all other levels.

When teaching the 5-out motion offense to your team for the first time, I highly recommend you use cones to mark these 5 spots on the floor to allow players to get used to where each position is.

How to Run the 5-Out Motion Offense

There are 4 progressions that you gradually introduce one by one into the continuity of your 5-out motion offense.

All coaches must make sure they start with progression one and move up without skipping steps.

This allows the players to gradually learn the concepts of the 5-out motion offense without being overwhelmed with the entire offense all at once.

These are the 4 progressions:

Progression 1: Basic cutting
Progression 2: Screening away
Progression 3: On-ball screen
Progression 4: Dribble at

Let’s go through each of the progressions in more detail…

Progression #1 – Basic Cutting

The easiest way to begin teaching your team the 5-out offense is to start with the basic movements of passing and cutting in a 5-0 situation.

Start by setting out 5 cones at the 5 fill spots on the court. Let your team know that when they’re not cutting, they must be in one of these 5 positions.

Now it’s time to teach the cuts…

There are 4 passes and cuts that can be made during progression 1.

1. Top to Wing Pass

On a top to wing pass, the passer basket cuts all the way through the key and fills the opposite corner.

Once 1 has cut, 3 and 5 must fill up the positions closer to the basketball.

2. Wing to Corner Pass

On a wing to corner pass, the passer also basket cuts all the way through the key and fills the opposite corner.

Once 2 has cut through, 3, 5, and 1 must all fill up the positions closer to the basketball.

3. Corner to Wing Pass

On a corner to wing pass, the passer basket cuts and replaces themselves.

The other 4 players wait in the same spot for the next action.

4. Wing to Top Pass

On a wing to top pass, the passer basket cuts and then fills the corner of the same side they cut from.

On 3’s cut, 4 fills up closer to the basketball and then 3 replaces them in the corner. The other 3 players wait for the next action.

Progression Practice:

Have your players practice this progression until they’re comfortable with the passes and cuts.

This simple progression can be a great offense for a youth basketball team by itself. It will provide great spacing and get your players reading the play and making decisions.

Coaching points when teaching progression #1:

• Remind your players that if they’re being overplayed, they must back cut immediately when the player with the basketball is looking at them.

• To set up the defender and get open on a front cut, after passing the player should take one step away from the ball and then explode to the ball-side of their defender on the cut to the rim looking for the basketball.

• If the defender ‘jumps to the basketball’ taking away the front cut, the passer should back cut and try to step in front of their defender to open up the passing angle.

• Always watch the basketball on cuts. If a shot is put up, they need to know immediately to establish rebounding position.

• Cut hard on all cuts to the rim. Doing so will make the cutter a threat to score which will force weak side defense to help.

Progression #2 – Screen Away

Once your team is comfortable with the cutting phase (making the correct cut 80% – 90% of the time), it’s time to introduce the action of screening away after a pass instead of cutting.

This action can be performed on any top to wing, wing to corner, or wing to top pass. The only pass it can’t be performed on is the corner to wing pass.

Before implementing this action, you must decide whether you want the player being screened to always curl, or whether you’ll give them the option of cutting to the top or curling.

I recommend all youth basketball teams (below high school) get this player to curl off the screen every time so that there’s no confusion.

For high school teams and higher, you can allow them to read the defense and perform the most appropriate option.

Option 1 – Screened player always curls off the screen

Here’s how it works on a top to wing pass…

1. 1 makes the pass to 2 on the wing. Instead of cutting, 1 decides to set an away screen.

Note – It’s important that 2 waits while this screen is being set so that the curling option is not missed due to passing to 4 too quickly.

2. 1 screens for 3 making sure that they set the screen at an angle that allows the 3 to cut to the rim.

3. 3 can either front cut or back cut towards the rim depending on how quickly the defense reacts to the screen. But they must cut to the rim since they were screened.

4. After 3 has used the screen, 1 pops back out to the same spot that they set a screen from. If 1’s defender attempts to help on the cut from 3, you’ll find that 1 will often get an open shot from the top of the key.

5. After the cut, 3 fills the weakside corner position since 5 has filled 3’s previous position on the wing.

Then all players are back in position for the next action to be made.

Option 2 – Screened player has the choice of curling or popping out

If you’re coaching an experienced basketball team, you can give the player being screened the option to curl or to pop out to the perimeter and receive the pass.

The difference when using this option is that the screener must go the opposite direction to the cutter.

If the cutter decides to pop out to the perimeter, the screener will cut to the rim and then fill the corner.

If the cutter decides to curl, the screener will pop out to their original position.

Here’s an example of a top to wing pass using option 2…

1.1 makes the pass to 2 on the wing. Instead of cutting, 1 decides to set an away screen.

Note – It’s important that 2 waits while this screen is being set so that the curling option is not missed due to passing to 4 too quickly.

2. 1 screens for 3 making sure that they set the screen at an angle that allows the 3 to cut to the rim.

3. 3’s defender cheats and goes under the screen so 3 pops out to the top perimeter position to catch and look for the open shot.

4. Reading this, 1 cuts to the rim because they must go the opposite direction of the cutter.

5. 1 then fills the corner position as 5 has filled 3’s previous spot on the wing.

I’ve found that inexperienced teams can struggle with option 2 so I recommend starting with option 1 and then progressing to option 2 if you think your players are capable.

Coaching points when teaching progression #2:

• Players must be setting screens on the correct angle. This means the screener’s bum should be facing somewhere between the player with the basketball or the basket. Too often youth players will set screens too high that allow the defender to quickly slip under it.

• The player setting the screen must make the player being screened aware with a verbal cue and a visual sign. I recommend you teach the screener to hold their arm up in a fist and call out the player’s name before setting the screen.

Progression #3 – On-Ball Screen

Once your players are comfortable with cutting and screening away, next up is the action of setting on-ball screens.

This action of the pick and roll is often very effective because the offensive players are spaced out well.

The on-ball screen can be used after any pass in the offense.

Here are two examples of setting an on-ball screen in the 5-out motion offense:

Example #1 – Top to Wing Pass On-Ball Screen

1. 1 passes from the top to 2 on the wing and then sets an on-ball screen on their defender.

2. 2 uses the on-ball screen and drives hard to the rim surveying the options that are presented.

3. Depending on how the defense reacts, 2 can pass to any of the perimeter players or make the shot in the key.

If the basketball is kicked out and the shot isn’t immediately taken, all players must find one of the 5 fill spots and the 5-out motion offense starts again.

Example #2 – Wing to Corner Pass On-Ball Screen

1. 4 passes to 2 in the corner and then sets an on-ball screen on their defender.

2. 2 uses the on-ball screen and drives hard to the rim surveying the options that are presented.

3. Depending on how the defense reacts, 2 can pass to any of the perimeter players or make the shot in the key.

A lot of coaches who run the 5-out motion offense make it a rule that on each pass to the corner the passer sets an on-ball screen. So if it works for you, consider incorporating it as a rule into your offense!

Coaching points when teaching progression #3:

• As with the previous progression, it’s super important that players are setting the on-ball screen at the correct angle that allows the player with the basketball to attack the rim.

• The three players not involved in the pick and roll should do their best to move into open positions where they can catch and shoot or catch and drive.

• Start to introduce to the players that they must take into account each player’s skill set before making an action. For example. Your team should not set an on-ball screen for player that can’t dribble the basketball well.

• Just like in the screening away progression, players must be giving a visual and verbal cue to the player they’re about to set an on-ball screen for by saying their name and holding up a fist.

Progression #4 – Dribble At

Another action to add to this continuity offense is the ‘dribble at’ action.

This can be used when a player with the basketball is being heavily pressured and the only options to pass are being denied well by the off-ball defenders.

In this scenario, the player with the basketball may decide to dribble towards another player at a different spot.

When this happens, the two offensive players involved (the dribbler and the player they’re dribbling towards) have two options.

1. Backcut

If the player without the basketball is being denied, they can make a hard back cut looking to receive the basketball for a layup.

If they don’t receive the pass, they fill the weakside corner, the other players rotate towards the basketball, and the next action begins.

2. Hand-off

The other option is to perform a hand-off between the two players.

This is similar to the pick and roll where the other 3 players on the court should hold their positions and wait.

The player that receives the hand-off should attack the rim and kick out to shooters if the defense slides over to help.

Coaching points when teaching progression #4:

• When performing hand-offs, the player with the basketball should rotate their hands so that they’re on the top and bottom of the basketball. This allows the player receiving the hand-off to grab the basketball on the sides.

• In my opinion, I don’t like hand-offs for youth basketball. For my youth teams, I have them automatically back cut on a dribble at.

Piecing the 5-Out Motion Offense Together

Once your players have learned the basic 4 progressions of 5-out motion offense, you’ve established a fantastic primary offense that will teach them how to read and play the game of basketball.

Now that they can confidently perform all the actions, the next important step is for players to work out what actions work the best for them and their teammates.

For example:

• Players will work out that the best players to set on-ball screens for are the quick guards who make great decisions.

• The best players to away screen for are those that cut hard to the rim and can finish the layup or close shot.

• The bet shooters on the team should primarily set away screens so that they’re cutting back out to the basketball for the open shot.

While a lot of this knowledge will develop with experience, I believe it’s important for the coach to talk to the team and each player individually about what they’re good at and what they need to improve on.

Doing so will help their decisions when running the 5-out motion offense during the game.

Motion 5.4.1 Torrent

Advanced

Flex Action Progression

Once your team has mastered the basic progressions of the 5-out motion offense, you can choose to add a more advanced flex cut progression.

This is best used on a pass from the wing to the top of the key and can potentially give you an open layup off the flex cut or an open jump shot off a down screen.

Here’s how it works:

1. 2 makes the pass to 1 at the top of the key.

2. After making the pass, 2 will basket cut as usual. But instead of filling to the same side, 2 sets a flex screen for 5.

3. 5 uses the flex screen and cuts through looking to receive the pass for the layup. If 5 isn’t open, they simply cut all the way through to the corner as 4 has moved up the wing to replace 2’s spot.

4. 3 then sets a down screen for 2.

5. 2 uses the down screen and pops out to the perimeter looking to receive the basketball for the jump shot.

6. 3 can reverse pivot and seal 2’s defender if they have a mismatch inside. If not, 3 fills the closest corner.

Even if the offense doesn’t get a great look from the flex option, you will notice now that all five spots are now filled and the team can move on to the next action of the offense.

Variation – Cutting Through the Nail

Another variation of this offense I wanted to share with you is the option to ‘cut through the nail’ every time a player cuts to the top of the key.

This is most commonly seen in Bob Huggins’ Open Post Motion offense.

Instead of filling to the top spot just like any of the other 4 spots, players are required to L-cut through the nail.

Note – The ‘nail’ is the spot at the very middle of the free-throw line.

When players cut through the nail, they’re required to decided whether to back cut or to pop out to the top spot depending on how their defender is playing them.

If the defender is denying them from receiving the basketball, the player must immediately back cut and then fill the weak side corner.

If the defender is playing off them, the player cuts out to the top spot to receive the pass.

By implementing this variation to the 5-out motion offense you will achieve two things…

1. It will take away the defenders ability to get a deflection which leads to the opponent’s fast break.

2. It can lead to some easy scores off the back cuts.

Getting the Basketball to the Post

The best way to get the basketball inside to players who have a mismatch is to allow those players to establish quick post up position after every through the key.

The player posting up is only allowed to hold this position for 1 – 2 seconds before clearing out if they don’t receive the pass.

Martinlogan - Motion Lx16 5-1/4

This ensures that the 5-out motion offense continues to run smoothly.

To take advantage of this mismatch, it’s important that players with the basketball are looking at cutters to take advantage of the 1 – 2 seconds that they secure inside position.

Posting up isn’t restricted to your biggest players. Any match up on the floor with an advantage in the post can use this technique.

Transition Defense and Rebounding

One thing a lot of coaches will find confusing is that since all our players are standing outside the three-point line, who’s going to rebound!?

The answer to this question will depend more on the personnel on your team and how aggressive you want to be rebounding the basketball.

I’ll give you three options. Pick the one you like the most depending on your coaching style and players on your team.

1. The point guard always plays safety. The other four players crash the boards.

2. The point guard and shooting guard always play safety. The other three players crash the boards.

3. Everyone below the free throw line rebounds. Everyone above the free throw line plays safety.

What you’ll quickly realize is that the 5-out motion offense can lead to a lot of offensive rebounds as long as your designated players are willing to work hard for them.

By starting on the perimeter when a shot is put up, it’s incredibly difficult for the defense to box out an offensive player with a running start.

Martinlogan - Motion 5-1/4

If you have any tough and athletic players on your team, expect them to grab a lot of offensive rebounds!

Conclusion

The 5-out motion offense is a great offense for any basketball coach to learn and implement with their team.

Being a very common offense, even if you don’t use it with your own team, it’s important for all coaches to learn about so that they know how to defend when playing against it.

It allows players to practice all skills, gets the whole team involved, and can be easy to teach as long as you’re using the right progressions and not trying to implement the whole offense at once.

Any basketball coach who uses this offense will know they’re improving their players!